Synthetic Imprint

L'empreinte synthétique


Text by Marc-André 2 Figueres
At side of the field of my large father, a pottery: The Old (Earthenware) jar. A neighbor potter, his daughter, with which I was in love at age the six years. Childhood.
Reminiscence of the plays with the girl and the son in the workshop of the father. Ring closed. Repetition of same gesture and act magic which rock our play of enfants. The father have develop au point a system of catch of print to reproduce some old woman earthenware jar. He obtained perfect copies thus that he aged by aspergeant them of hydrochloric acid.
One day, it used latex to take prints.
A force to it see create some multiple reproduction starting from a same original, have emerge slowly the desire to use this product to take, tear off, the print of my ground, my ground native, my territory.
The against-mould of an original which would not be used for other uses but me appeared, in oneself, like final.
Rubber. Intermediary between forgery and truth. Neither original, nor copy. Between the two, the absence. The print. By taking a print, I reproduce. The copy does not differ of anything the print.
Rubber, intermediate zone, product of moulding which collects the interval, two extremes. To use rubber as product of catch of prints of my native ground and the result obtained being used as demonstrator of the image of the ground thus captured. Second stage after that of the tilling which was awakening total in order to stabilize itself on a transitory territory and to build something there.
Réaliser un nouveau type de gravure en appliquant les mêmes procédés que ceux utilisés pour des réalisations sur papier, mais en donnant au résultat une dimension nouvelle, spatiale.
Layer the principle of engraving but by replacing each stage by its plastic equivalents. The ground, like matrix containing all the traces and all the geometries necessary to express all that it lived, recorded, and which it will restore. Liquid rubber of synthesis like receiver, clip of this message that the ground matrix will give birth to and of which it will receive the print. The atmospheric pressure, like a press, will allow the polymerization of the product and the final creation of the trace enchased in its support.
To carry out a print with very the ground and to obtain a synthetic skin which expresses, by simple symbolic system of the colors, death with its multiple aggressions and the life, by the unicity of its texture, increased by a human silhouette to appear the alive heart entirely, even taken in a simple sample, as only one cell contain the secrecies of Life.
Ground, background, skin of the world, human skin of a common and universal humanity, smooth geography and luxuriante, card of a cutaneous continent where the lives animal, vegetable, mineral and human would merge in a thick underwood. **Ground like the human skin, made and impressed of all our lived, our sorrows, our joys… Personal history, clean past of each print of the skin which the wrinkles tell us, scars, wear, satisfaction or the frustration which it reflects.
And it is this life which I want to endeavour to restore, these hidden phantoms, been unaware of or forgotten, which sommeillent all around us and whose shade ineluctably wove the landscape foreign and yet so familiar of our present.
To choose the ground as one prepares a table and to transpose on this fabric, except standards, all traditional work. A slow, long, difficult choice. To scan the ground, to let it allure me, to suggest me forms, faces, desires, to look at the asperities, the bumps, the hollows, to tell stories.
Transpose the process of Léonard of Vinci (in the Treaty of shade) which invite the apprentice-draughtsman to himself settle in a part old and to look at the damp patch of humity on the wall to there distinguish of form, of faces.
Once this phase of preparation complete, the print finally expose à nue, it capture by the installation en place on the surface selected of rubber liquid of synthesis (latex synthetic stabilize with ammonia and product by the factory Bayer B 012 S). Rubber which himself polymerize naturally with ambient air ambiant, himself harden in preserve the print of place on which it have be deposit, himself impregnate some message, capture the print, such one second skin model on that of ground, marry, adhesive, steal all its secrecy, its treasure ordinary, stone, grass, dust, and imaginary.
Display the rubber by hand. Imprint the territory in order to make better better use of borrowing it.
Technical Limit : this work can be carried out only during hot and broken down seasons. In period of strong hydrometry, rubber rots.
Se cond intervention on this Territory Borrowed by adding to it the complements of the print and the drawing already made. The writing not being well defined, not yet perfectly readable, need for cutting out, for removing, for perforating or for adding external elements. To repaint certain parts for better highlighting what is thus revealed. To engrave the ground plate.
Result: a synthetic imprint, a drawing carved, painted and engraved like a tapestry.
The first disappointment, first distress: the skin, almost too true, too resembling, too suggestive, too perfect illusion, attract and repulse at the same time. The bodies, like the human bodies, exhale an odor but a bitter and tough odor which inspires the dislike. Quasi-immediate obligation to add on this ground of the figures and the human forms, the heads and the bodies, related one to the other but not one without the other.
The last intervention and most revealing: the light. Opaque rubber must be exposed in a particular place where the light varies. See the table by transparency like a stained glass.
Work visible only at certain moments. According to the intensity of the light, the details change, the forms evolve/move, follow a little the movement of the light which settles or attenuates, to the manner of a film with a single image to the One single image and a lighting which change permanently throughout a solar revolution. A work which lives at the same rate/rhythm as the human being following the evolutions of the sun and the light, a work-mirror, reflection of a civilization.
Phantom, result of the amalgam of these techniques. Without forgetting the need for the light which returns the life by transpiercing the spectra. Skin, phantom print, born from the ground, work dust which, in the space from three to four years, is turned over to dust. All rubbers died, disintegrated. Each one lived its own life. Some died immediately, like literally destroyed by the burden of the memory. Others took their time. But all were victims of what had given them the life, killed by what made live, worn by the sun and the oxidation of the air.
What gives us the life, the life removes us. And reversly. So alive prints that they died, like human deaths.
I knew unstable synthetic latex but I did not expect that it disintegrates EC way and also quickly. I thought that it would age like a newsprint, would yellow, time transforming the colors. The not-resistance of rubber, somewhat, made fallen through this new experiment. Work has me completely escaped. Today, it does not exist any more, I cannot any more show it. It is nothing any more but one dream, than a fuzzy trace which remains only at the bottom of me and of some memories which knew to garner it. Remain only some photographs, prints tangible of fugacious, fragile, transitory prints which joined for always the kingdom of the invisible one. A work belongs to us only as long as it is in substance, in gestation. Alive, it escapes its creator.



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