Who Speaks Is Not Who Writes, And

Every Exploration Is An Appropriation.

The Photograph Is An Extended, Loaded Evidence — As If It Caricatured Not The Figure Of What It Represents (quite The Converse) But Its Very Existence ... The Photograph Then Becomes A Bizarre (i)medium(i), A New Form Of Hallucination: False On The Level Of Perception, True On The Level Of Time: A Temporal Hallucination, So To Speak, A Modest (o)shared(i) Hallucination (on The One Hand 'it Is Not There,' On The Other 'but It Has Indeed Been'): A Mad Image, Chafed By Reality.

What Love Lays Bare In Me Is Energy.

One Day, Quite Some Time Ago, I Happened On A Photograph Of Napoleon’s Youngest Brother, Jerome, Taken In 1852. And I Realized Then, With An Amazement I Have Not Been Able To Lessen Since: ‘i Am Looking At Eyes That Looked At The Emperor.’ Sometimes I Would Mention This Amazement, But Since No One Seemed To Share It, Nor Even To Understand It (life Consists Of These Little Touches Of Solitude), I Forgot About It.

I Want To Be Both Pathetic And Admirable, I Want To Be At The Same Time A Child And An Adult. Thereby I Gamble, I Take A Risk: For It Is Always Possible That The Other Will Simply Ask No Question Whatever About These Unaccustomed Glasses; That The Other Will See, In The Fact, No Sign.