Défragmentation urbaine / David Hockney tribute, 2008

Bze Bzeland  

Bze works on two series presented in the style of A chair, Luxembourg garden, Paris, 10th august 1985 by David Hockney. 

Unique print on glossy paper.

The figure of the object is divided into several axes of vision and in a cubist approach to the composition. But, fragmented according to multidirectional folds, the image is not divided. All it can do is objectify itself, detach itself from the background, and throw itself to our face. Its resistance to being put into pieces and its complicity with fragmentation weave together what should be designated as a RE-presentation of the conventional world. A distorted transcription, in order to propose another facet of reality, to emphasize the omnipresence of its irrationality, to affirm its subjectivity, and which modifies its meaning. The photographic nature of its components inscribes it by default into truth, but a truth always partial. Because they are fragmented, its components, in fact, lie by omission. 

The partiality of the photographic framing is mitigated by the assembly of several images from the same field. Because it accounts for the fragmentation in the unity, the image tends towards a truth that does not deny its subjectivity. The tool for this project is a digital reflex and all the images presented are virtually photo-montages.

This art print captures the melancholy of an abandoned car chassis. The rusted vehicle rests in wild vegetation. The framing adopts an irregular geometric shape. This dynamic cut fragments the scene and creates an effect of relief on the black background.
The image combines the precision of photography with the manual intervention of ink. The gaze is drawn to the details of the degraded bodywork and the traces of graffiti. This composition questions the relationship between the industrial object and nature.
The graphic approach emphasizes an aesthetic of margins. The contrast between the oxidized metal and the green of the grasses brings visual depth. The whole is part of a minimalist approach where the black void accentuates the presence of the subject.
Realized in 2004, this work is a fine art print on paper. It testifies to a precise urban exploration. The composition ends with the cold gleam of a metal barrier on the left.