Supports Free Stock Images

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Sun blasting through the pylons of the Pacific Beach pier in San Diego.

Dark silhouettes of the multitude of structural members an supports of this beach marine structure. Dark silhouettes of the multitude of structural members an supports of this beach marine structure.

Old pier supports in sea

Old damaged wooden pier supports creating nice shape leading to boats. Old damaged wooden pier supports creating nice shape leading to boats

Iron supports for the high-voltage wires.

Iron supports for the high-voltage wires. Omsk Region. Russia.

3D supports

3D supports for anything like busts,awards, etc.

Traces 1

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation) L'album trace. French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation) L'album trace

Roof supports over a swimming pool.

An image of the wooden beams supporting the roof over an indoor pool. An image of the wooden beams supporting the roof over an indoor pool.

Traces 36

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Bridge supports in water

Underside of a bridge with the supports standing in water. Underside of a bridge with the supports standing in water

Roof supports and slate in 13 th century building.

An image in vertical format of the roof of a 13th century church from inside the building showing ancient timber beams and stone slates. An image in vertical format of the roof of a 13th century church from inside the building showing ancient timber beams and stone slates.

bridge-supports

bridge-supports

Traces 37

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Posts

Old wooden bridge supports. Old wooden bridge supports

Iron supports for the high-voltage wires.

Iron supports for the high-voltage wires. Omsk Region. Russia.

Red support

Red hay supoort. Red hay supoort

Three supports of ropeway.

Three supports of mountain ropeway standing on a slope. Three supports of mountain ropeway standing on a slope.

Industrial Christmas

A crane supports a Christmas Tree. A crane supports a Christmas Tree.

Supports power lines

Supports power lines on a summer day in the sky

Power lines

Power lines towers against a blue sky

Bridge over river

Train bridge over wide river in sunny day with supports mirroring in wavy water. Train bridge over wide river in sunny day with supports mirroring in wavy water

Traces 30

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Detailed View Of Michigan Mackinaw Bridge

Close up view of the center span of the Mackinaw Bridge in Michigan, The Mackinaw is one of the longest suspension bridges in the world and part of Interstate 75. Close up view of the center span of the Mackinaw Bridge in Michigan, The Mackinaw is one of the longest suspension bridges in the world and part of Interstate 75

The view under the river bridge

The view under the bridge. The river flows between the stone supports of the bridge. The view under the bridge. The river flows between the stone supports of the bridge

Traces 35

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« rollerballs Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de superficie. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "rollerballs", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned picture. (Sorry, it's a Â« Reverso Â» translation)

Ancient gate lanterns

A couple of ancient metal gate lanterns with supports in the form of lances in the hands. A couple of ancient metal gate lanterns with supports in the form of lances in the hands

Gazebo ceiling

Photo of ceiling of wooden gazebo showing the intricate supports and arrangement of beams. Photo of ceiling of wooden gazebo showing the intricate supports and arrangement of beams.

Bridge over the Pier

A steel bridge on concrete supports over the pier and canal. A steel bridge on concrete supports over the pier and canal.

Three red glass numbered on black supports

Three red glass numbered on black supports.

Pier on the water

Supports of a pier in the water at Cape Cod. Supports of a pier in the water at Cape Cod.

Large hall in modern building

Large hall in modern building with white ceiling supports and reflection.

Jetty Supports

Jetty supports on beach at Puerto Morelos, all that remains after a hurricane.

Two eggs in the ceramic supports

Two eggs in the ceramic supports, isolated on a white background.

Double span bridge.

A double span blue painted metal bridge with concrete supports crossing a river with a blue cloudy sky. A double span blue painted metal bridge with concrete supports crossing a river with a blue cloudy sky.

Three red glass numbered glasses on black supports

Three red glass numbered glasses on black supports

America Supports Baseball

A baseball glove resting on an American flag. American supports baseball. A baseball glove resting on an American flag. American supports baseball.

Girl in angel's costume supports head palms

Girl in angel's costume supports head by palms on white background. Girl in angel's costume supports head by palms on white background

inventive-benches-and-arbust-supports

inventive-benches-and-arbust-supports

The person supports business graph

The person supports business graph - 3d illustration

Close-up of old stonework steps

Close-up of old and worn stonework steps and banister column supports. Close-up of old and worn stonework steps and banister column supports.

Bridge Supports Reflected in Water

Bridge supports reflected in water with warm light from sunset

Traces 55

French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« ballpoint Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de surface. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation). French : Gouache noire sur papier photo, 2003. Contraintes de supports, formats, matÃ©riaux, procÃ©dÃ©s : Lignes parallÃ¨les au pinceau (le mÃªme pinceau pour toute la sÃ©rie â€“ je l'ai gardÃ©), la souplesse Ã©tant dans la quantitÃ© d'eau associÃ©e Ã la gouache noire, la vitesse dâ€™exÃ©cution pour une ligne (le pinceau ne dÃ©collait la feuille qu'aprÃ¨s l'avoir traversÃ© de long en large ; le rythme, les saccades, les tremblements donnaient du jeu aux contraintes initiales) et le temps de sÃ©chage entre deux lignes parallÃ¨les juxtaposÃ©es. J'ai ensuite complÃ©tÃ© ce dispositif en ajoutant des empreintes faÃ§on monotype Le paysage, dans sa plus simple expression, est un jeu d'horizontales â€“ comme le portrait est l'expression de la verticalitÃ© (le paysage et la ligne courbe seraient plutÃ´t de l'ordre du fÃ©minin alors que le masculin serait dans le portrait et la ligne droite) Nous retrouvons le thÃ¨me des Â« barreaux Â», que j'exploiterai vraiment en 2007 parce qu'il Ã©tait devenu vital que je digÃ¨re ma mise en examen... Barreaux dÃ©jÃ prÃ©sents prÃ©cÃ©demment dans mon travail sur la Â« feuille Â» puis dans mes Â« ballpoint Â», enfin dans mes vidÃ©os. Ces traits parallÃ¨les m'intÃ©ressent d'abord pour leur cotÃ© archaÃ¯que, de la naissance de l'Ã©criture (dÃ©compte de bÅ“ufs) jusqu'aux graffitis sur les murs des prisons pour marquer le dÃ©compte des jours (autant de barreaux barrÃ©s en fin de semaine â€“ c'est un aspect sur lequel je me suis penchÃ© dans la sÃ©rie des Â« marques Â» que j'ai amorcÃ© -comme les Â« barreaux Â»- lors de ma mise en examen en 2006). M'intÃ©resse aussi la multiplicitÃ© des interprÃ©tations possibles et leur rÃ©versibilitÃ© suivant le sens exposÃ©, la forÃªt de bouleaux quand le support est exposÃ© Ã la verticale devient une Â« marine Â» Ã l'horizontale. Ce travail, tout comme les autres, fait la part belle Ã ma grande nÃ©vrose qui consiste Ã vouloir trouver le maximum dans le minimum, mais que je dÃ©finis aussi comme une recherche de profondeur plutÃ´t que de surface. Une derniÃ¨re prÃ©cision : le papier photo donne une brillance argentÃ©e du plus bel effet qui n'est pas visible sur l'image scannÃ©e. English : Black gouache on photo paper, 2003. Constraints of supports, formats, materials, processes: lines parallel with the brush (the same brush for all the series - I kept it), the flexibility being in the quantity of water associated with the black gouache, the speed of execution for a line (the brush unstuck the sheet only having crossed it up and down; the rhythm, the jerks, the shivers was loosen something up to the initial constraints) and the time of drying between two lines parallel lines juxtaposed. Then I completed this device by adding imprints as "monotype" The landscape, in its simplest expression, is a game of horizontals - as the portrait is the expression of the verticality (the landscape and the curved line would be rather of the order of the feminine while the male would be in the portrait and the straight line) We find the theme of "bars", which I shall really run in 2007 because there had become vital that I digest my indictment... Already present Bars previously in my work on the "sheet" then in my "ballpoint", finally in my videos. These parallel lines interest me at first for their archaic quoted, of the birth of the writing up to graffiti on the walls of prisons to mark the discount of days (so many bars blocked at the end of week - it is an aspect over which I bent in the series of the "marks" that I began - as "bars" - during my indictment in 2006). Also interests me the multiplicity of the possible interpretations and their reversibility following the displayed sense, the forest of birches when the support is upright exposed becomes a "seascape" in the horizontal. This work, quite as the others, gives a good place to my big neurosis which consists in wanting to find the maximum in the minimum, but that I also define as a deep research rather that of surface. A last precision: the photo paper gives a silvery shine of the most beautiful effect which is not visible on the scanned image. (Sorry, it's a Â« Reverso Â» translation)

Abstract of bridge supports

Abstract photo of bridge beams with blue sky. Abstract photo of bridge beams with blue sky

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