YOU’LL SEE

Sharing the studio—and not just any studio—for years. One more minute, and Sanjin and this Cézanne-esque guy were comrades in the courtyard of the greats’ art.

The two colleagues at work, from one reality to another, from another to a dream, from one painting to the next. This session—you’ll see…—comprises the third public episode of multiverse dialogues, duo by duo, a diagrammatic space, a duogram. You are here and now within the images. That’s where I was. I was saying: as for this problem that torments us—and which we haven’t finished discussing, since all sorts of things are swirling around this notion of the diagram—namely, trying to define the relationship between the eye and the hand in painting. I was saying: we must judge these relationships based on our diagrammatic positions.

At least let this serve some purpose, given that it seemed to me that the texts critics have written about the eye and the hand do not account for the tension that exists in any case between the eye and the hand in painting—that painting is a certain resolution of that tension and passes through the tension between the eye and the hand.

Thierry Mouillé