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The universe of Truc-Anh spreads in a fragmented shape the extremities
of which like by a vertiginous strength of gravitation. He presents here
photos extracted from two current series (the series of Doors and that said about Stanley's
Opera) and a sculpture acting as the binder which gives its shape to the
abrasive.
We are struck at first by its Doors which announce as an infernal countdown: traumatized by an inidentifiable scale,
we can only be snatched by this multitude of details, contortions emanating
from a limbique black.
This series the occurrences of which are listed under the name Doors #47, Doors #55, Doors #79 (and so on by decreasing) is
constituted by photos showing each a knick-knack enlarged by prints 150 x 150
cm size, and changed in physical phenomenon.
Rings of flea market become
maelstrom or appropriate suddenly the sophistication of a ring of Nibelungen …
There is indeed a passage, a crossing of these doors which drives us of the
obsessive-compulsive disorder for tourist to the sublime.
The second series stages its pen name-héro, Stanley, solitary character
evolving in spaces sucked the lifeblood out of, emptied of any human presence,
getting loose too from almost Wenders’s backgrounds: |
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Truc-Anh, adorned with its
pink sleepsuit, made these self-portraits in the United States and in Norway … we think of the dumb character and amnésique of Bets-Texas. It is because it is
necessary to remain isolated, deliberately, to develop Peter Pan's famous
syndrome and promote (and embody) today a high-octane gasoline -héro the
old-fashioned adventures of which do not lack an existential note.
Stanley's
photos are gathered under the naming of Opera: Truc-Anh underlines, by this
generic title, the narrative dimension and the polyphony of this series
inaugurated in 2007 which becomes attached to "the representation of some
lives and some deaths".
The visual rhyme which subjects Stanley to his multiple reappearances in
moved environment is the same who, in the style of a "incantation"
asserts Truc-Anh, works on the loss of marks in the series of Doors: their
repeated motive tires the eye always in search of a stable ground where to rest
such Stanley in Stanley looks at the WSOP (slept under the sofa which would allow him to look, in sat position, at World
Series Of Poker) or Stanley at the Incas (lengthened, at dawn, among an army of deckchairson some left beach).
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It is paradoxically them exact definition which allows these Doors (in fact, for the greater part,
familiar objects), to acquire this sort of disturbing strangeness. By remaining
the most faithful possible in their depiction, Truc-Anh manages nevertheless to
reveal of this cheap junk of the unexpected aspects, surréels and puzzling.
For the first time presented collectively, these two series are
reflected and are supported here by the next sculpture (such as Oeil Limen, folding of photographic prints
but here 200 cm size) which, in its possible manipulation seems to put as the
antidote of a surplus of esotericism and timorer the spectacular bewitchment of Doors: Truc-Anh, magician little
worried of revealing his skills reveals us his visual effects in of fact-hand.
The folding and the real movement this time return to the surplices of Doors and to the impression of expansion
that they get.
These foldings can also evoke various strata of a personality so
complex as that of the Stanley and his manipulator: Truc-Anh.
Frédéric Chapon.
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