ST «The Aura: Latent Image»
Acrylic, oil, photosensitive emulsion, silver gelatin, sulfur, clay, ashes (from incinerated historical texts), red wine and nicotine on canvas.
160 X 120 cm.
Private Collection USA
Chronological alternations of latencies and crisis
“”Anachronism would thus be less a scientific error than a fault committed with respect to the coexistence of the times. Just as art history as a “science” is incapable of camouflaging to the end its literary, rhetorical, even courtly rootedness, so history as a “science” is incapable of recursing to the end the ambivalence of its own name, which presupposes the plot of fictions (storytelling) as much as the knowledge of real events. Once again, anachronism plays, in the position of this problem, an absolutely crucial role. On the one hand, it appears as the very mark of fiction, which grants itself all possible discordances in the temporal order: in this respect, it will be given as the opposite of history, as the closure of history. But on the other, it can legitimately appear as an opening of history, a healthy complexification of its models of time.”
Georges Didi-Huberman, In: “Devant le temps” (Art history and anachronism of images).