Description

What is an object? Adorned with the most diverse connotations, the term first appears to the intellect as a synonym for unity of matter, easily identified as belonging to the “concrete” world, then, in an abstract mode, it becomes an “objective”. , a goal, a goal to achieve, almost an obsession. Yet the object hardly exists in itself, the notion of unity of matter is debatable and the very idea of the object as the horizon of vision bends under its own paradox. The risk is that it remains unreachable. The photographer who fixes a moment of mute and changing matter knows this only too well. First of all, it distrusts itself and a vision circumscribed in a bundle of cultural habitus. Then it must let the matter constitute the vision. There potentially exists photography as revelation. It is this monster challenge that Chrystèle Lerisse took up in her two series entitled
On the side of Sam’s where the object is minimal. A challenge which Marcel Proust himself had had the intuition of, announcing what fifty years later contemporary art would contain more
radical. “When I saw an external object, the consciousness that I saw it remained between me and it, bordering it with a thin spiritual border which prevented me from ever directly touching its matter;
it volatilized in a way before I made contact with it, as an incandescent body that one approaches a wet object does not touch its humidity because it is always preceded by a zone of evaporation. “