Bloody sea
For her new series of photographic work, Alix Delmas has chosen to exhibit online. Using the dimension of the online world – that is, one without territorial borders – for this exhibition is very important to the artist. ‘Jetlag Paradiso’ and ‘Bloody Sea’ are a vision of our troubled times of global warming, coastal erosion and our fear of invasion. These images invite you to view the world – the way it works and the stark realities it hurls at its people – through a filter, in the subdued harmonies of colour, shade and nighttime.
The landscape of Jetlag Paradiso seems manipulated, as if overwhelmed by an artificial visual effect. The exotic shore recalls those discovered by our explorer-ancestors, always in search of the new elsewhere, much the same as what is today offered to tourists. The purplish section - the cyanose - seems to bear the traces of a deluge. An erosion of the landscape of the interior is an erosion which is transferred to the image itself. From any point of view, this purple gelatin reveals the ordeal a coastline experiences holding its own against tornadoes. It is, above all, a metaphor on the fragility of the landscape and its physical and photographic degradation, as if the landscape itself had lost its clarity.
Alix's ‘Bloody Sea’ resists a direct narrative, instead revealing eerie, red-tinged 'atmospheres'. We watch as they advance towards us, menacing, threatening our cosy lives set comfortably behind the ramparts. This is a spectral vision of the sea, the Mediterranean Sea, in which thousands of people so far have lost their lives attempting to cross from one shore to another. The sea itself speaks only of the sea. It is our imaginations which create the falsehood and fear - and this fear lies within us.
The dimension of the online exhibition is not within the territory of any country; it is outside the dimensions of any territory.
The landscape of Jetlag Paradiso seems manipulated, as if overwhelmed by an artificial visual effect. The exotic shore recalls those discovered by our explorer-ancestors, always in search of the new elsewhere, much the same as what is today offered to tourists. The purplish section - the cyanose - seems to bear the traces of a deluge. An erosion of the landscape of the interior is an erosion which is transferred to the image itself. From any point of view, this purple gelatin reveals the ordeal a coastline experiences holding its own against tornadoes. It is, above all, a metaphor on the fragility of the landscape and its physical and photographic degradation, as if the landscape itself had lost its clarity.
Alix's ‘Bloody Sea’ resists a direct narrative, instead revealing eerie, red-tinged 'atmospheres'. We watch as they advance towards us, menacing, threatening our cosy lives set comfortably behind the ramparts. This is a spectral vision of the sea, the Mediterranean Sea, in which thousands of people so far have lost their lives attempting to cross from one shore to another. The sea itself speaks only of the sea. It is our imaginations which create the falsehood and fear - and this fear lies within us.
The dimension of the online exhibition is not within the territory of any country; it is outside the dimensions of any territory.
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