A metaphor for escape
During my studies at the Beaux-Arts in Paris, I started painting while still producing my hieroglitch regularly. After graduating, I found myself alone, making small paintings as a mirror of the same protocol found in my drawings.
I was dissatisfied and helpless, faced with the continuous stream of information that I could not channel as soon as I left my little drawings in their grid (see hieroglitch). I needed more space, but I could not understand the ontological subtlety between a space of a large scale and tiny space of infinitesimal convergences and interconnections.
At that point, the corner appeared to me as an obvious solution. It was necessary to break the surface of the canvas, to create the illusion of a small vertical depth, just enough to stop viewers in their tracks and push them towards themselves, provoking a back and forth between the reality of being stuck and the promise of an escape through fantasy and imagination.
Similarly to my drawings, real-time updating, allowing these bursts of information through an ideally infinite grid, exists through the ‘domo’ or domesticated habitat, where the corner would be the essence. The wedge is therefore no longer just an intersection of two planes — as defined by its geometric characteristics — but a zone of updating and ontological interconnection.