Tetragramisations are experiments of recoding digital images by the painting.
This serie explores the antagonist relationship between an omnipresent digital photography and the painting as a declining medium, whose last prestige resides in the violence of archaism. Depending on whether we adjust the look for a close or a distant reading, we discover the conflict between the two ways of picturing the world: The painting disassembling the photography or the photography recovering the painting.
The pictures confronts the two media each against the other: The painting provides the primary patterns (Tetragrams) which serve as an analysis matrix. In distant reading, the photography is decomposed by this patterns and tends to encounter the unfashionable aesthetic of old tapestrys.
Yet in close reading the landscape changes and reveals another reality. The elementary “pixels” are not real pixels but abstract images. The primary forms used as pattern come indeed from a set of 1472 paintings called Tetragrams. Each of those Tetragrams is made of four rectangular painted monochromes, ordered in imbalance around a square central void. As such, Tetragrams sketch landscapes of four pixels, always different in tone and mood, through the perpetual motion created by the tiny void between the painting boards.
Those sensitive approaches of the world through monochromes discreetly compose the weft of all the Tetragramisations. Tetragrams constitute the abstract or even cleansed side of reality, sometimes cumbersome, talkative or obscene, be it cuddling cows or a fellatio in the twilight.
At the outset were the Tetragrams
“The ratio of power between the colors and the central void seems to make the square swing in a circular movement, although it is a stable form. So the void is the center and the lack at the same time. In any case, it is essential to the system. Around this void the colours and the number of combinations suggest the infinity of possible universes. This device evokes a register more metaphysical. Even if, as usual, I realized it afterward.” Interview by Frédérique.a.Oudin, Bliss art blog, 2015