Abstract
The first five images are collages-montages where I use collage as at once a technique of the construction of form but also as a mode of inquiry on what is in the process of being made and that the viewer is in the process of seeing (future perfect). The last five images are taken from a diagram that I began in 1994 whose task is a simple classification articulating a chronological series of paintings with the syntagma of written propositions (conceptual, metaphoric or historical) and historical works – drawn, painted or sculpted. Since then, the diagram has been developed in a specific way; it has become a dispositif not only because new columns of time have been added but especially because the interaction between the written and the painted leads to a certain number of disruptions, in such a way that the dispositif has substituted its own specific temporal and paradoxical propositions for the chronological fatality of origins.
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