sarah rooney


L’été qui nous suit, 2011


L’été qui nous suit, is a digital work drawing on color, subtlety and an economy of materials. The image arrives to us as warmth, a figurative element in flight that casts a shadow—a document to an ephemeral moment unraveling the process of play.

In l’été qui nous suit the concept of paper as performer is explored, with paper appearing as both a material presence and a device for creating sensitive images through the lens of the camera. Touching on the notions of pyschogeography, the resulting digital work registers as a calculated mirage, with paper as a vehicle for shedding light on the intricacies, the enigmatic complicity, and limits between modes of thought and poetry.

‘Paper,’ in its role as medium rather than support, leads to a questioning of the notion of playing and its reconstructive role. Here, in line with Constant Nieuwenhuys’s idea that “raw material must be left raw,” the rule of the child is allowed to surface in a way that neither suppresses nor over-intellectualizes the work of play but instead allows for a certain level of rawness to emerge.

The work arises from painterly sensibility, yet it is more than a painting, it is a performance in paper and color. A work of golden yellow. Paper is not a decoy but possibly a personnage, suggesting that a shift is at work. In light of Marcel Duchamp’s, painting Tu'm (1918), which engages our perception by means of indexical traces, L’été qui nous suit similarly draws on the index as a perceptive mode. While Tu’m indexes ready-mades, L’été qui nous suit, a moving mirage, points to both the image within and the realm outside the frame.