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Marc-André 2 Figuères dédicacera les 2 affiches (nuit/jour) qu'il a dessiné pour les prestigieuses fêtes de Collioure, lors du vernissage de son exposition "Baigneuses à Collioure"
le 17 aout 2013 à partir de 17h.

La poste innove et confie à ma2f la conception du premier timbre creux de l'histoire de la philatélie. Il est édité pour la principauté d'Andorre.

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Point de vue sur Point 2 vue

"The ecology of the eye"




the fullness of life

Strollers walk in front of the frames, intrigued by the apparent absence of content that they would normally expect. Some continue walking, others stop. This is when the transformation begins. The void itself does not exist. It takes on a form and meaning only by virtue of what surrounds it. The frames, like nature, abhor the void. The spectator creates his or her own picture and puts in it whatever they want. The initial transparency disappears and the spectator has the power to transform it into a myriad of images. The eye and even the body move according to the vision that is slowly but surely revealed, sometimes by chance. Pleasure is borne of the permanent discovery, of the novelty of the images and the ability to be responsible for the transformation from void to fullness. The interaction between the landscape, the frame and the individual gives the transformation a particular significance.


the passer-by and the purveyor

A landscape, whether it is natural or urban, only exists thanks to eye of the beholder. The passer-by who climbs the steps becomes the master of a game between the void, the fullness, the frame and by extension the nature surrounding the latter. The passer-by becomes the purveyor of a detail chosen within the overall landscape that is presented, a detail to which the purveyor gives particular importance. Each person can thereby decide what elements are beautiful, the ocean or only the boat; the beach or the church, or perhaps simply empty space that is filled with the intensity of its color, symbol of a possible infinity. The concrete space of the landscape is multiplied in so many personal representations. The spectators follow one after another in front of the same frame and yet no one image will look like the one before it or the one after it. The effect of these varying views lend meaning to MA2F's, if "the frame is universal, the vision is unique."


the video-frames

If he or she opts to do so, the spectator can also simply stand immobile in front of a frame; there is no obligation to see one thing over another. The spectator is then absorbed in only one vision, that of the passing of time and the transformation of the landscape. The eye becomes the focus of all retinal sensations provided by the changing objects that invade the frame; the frame becomes a video director. Emotion arises from the perpetual movement of these various atmospheres. The clouds, the sea, the waves, the boats that come and go, the strollers, all become the subject of a movie that has neither a beginning nor an end.


the time-frames

Focusing a precise image in a frame, the detail of a landscape, increases the space-time speed. For example, if one looks at the sky normally, in its entirety, the time it takes for a cloud to pass seems normal. But seen through a frame, clouds will appear and disappear at a much faster rate. A boat that one has just noticed appear will disappear just as fast. We can also discover how what is seen appears differently at different times of the day. We quickly seize everything that moves in order to grasp the immediacy of these ephemeral visions. Traces will remain in our memory. It is a type of contemporary Impressionism thanks to which the eye, and only the eye, replaces the brush. But then...


are the points 2 vue® illusions ?

Since indeed the same object seen in the frame or outside the frame, seen by different passers-by, never represents the same image; what is seen loses its objective meaning and is transformed by the power that the artist has offered to the spectator to alter reality in as many personal iterations as desired. What is viewed exists, what exists is real, everyone sees something, therefore everything is true. Illusions are borne from truth, this is the individual right to believe in what one sees. Nature is used by the artist as a pretext to play and the individual is free to take part or not in the game.


the inner eye

A new invention for the passer-by who dares to step in front of the frame and fill the void, using his or her body as the subject, to be involved in the work without being the painter, experiencing the joy of self-representation. A form of positive Narcissism since each person can find freedom therein without hindering the freedom of others. To know the joy of being photographed, framed. To take with one the work that is within oneself, the last picture, the one made possible thanks to the artist that offers the frame and the individual that fills it with his or her image. To know the feeling of believing for a moment that one has become both artist and model. The meaning of the frame has changed; the appropriation is at its apex. It has become a photo-frame. The visitor can leave the site with this concrete memento: his or her creation associated with that of the artist. The social act initiated by the artist has been overcome and has attained its goal by diverting the primary meaning of the frame, to capture reality to the benefit of capturing oneself through the medium of photography.