These photographs are the representations of a recording construct. I choose to associate, to oppose different shoots of my movements in reality. The film, rolled-up, rolled-out, becomes a photon-impressed spool.
I shoot my photographs without imposing myself restraints as to angle. I expressly wish a fluctuating mode of recording. I leave room for the incidental, the unforeseen. Therefore, the negatives are of different lengths according to the places they concern. The idea of passing time is recorded and can be measured by the numbers registered on the film as it is exhibited in its vertical total.
The pinhole position is the spacial reference in a given time-space construct. Whenever its position varies, it is (numerically) recorded on film. This recording offers a positioning of events in time while the notion of time itself is displayed by the position of the shoot on the film.
The object is to obtain, by the choice of a process, a photographical recording producing an environment where forms are created. Reading the process allows a succession of events to be discerned creating the unforeseeable (of movements) resulting in a group of recordings. This group forms an environment as it creates a form, an invented image. This image satisfies needs and spreads others, inventing a world of variety and movement.