In No Man’s Land, where the marriage between Heaven and Hell is celebrated, that is where Rennes’ gaze arrives. To be honest, to Rennes the mountain does not exist; it’s just a pretext. As soon as it is framed, it transforms instantly into all the mountains, into the multitude, to which individuality cannot in any way be assimilated, except in statistical terms – as belonging to the species.
Rennes’ images, without domination or acquiescence, establish the provisional nature of the meeting point between two subjects, the artist and the mountain, between the reasons of the visible and the invisible, but always starting from what is brought to the light. In the context of a representation that returns to be a presentation, no object is a fact.
In a perpetual cross-reference of mirrors, the subject is a witness to the work and establishes its residual capacity to exist. Rennes limits himself to carrying out the thankless task of noting the continuous transformation within the infinite variants of a living life, choosing one of the possible pieces of the mosaic. This attempt mocks the static nature of the genre, dealing with chaos, giving it some semblance of order, beyond any give and take.
Text written by Paolo Donazzolo, translated by Frédéric Rennes
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