By Eric Suchère.
She or fulfilled pattern
almost can’t retake, impossible to retake them, from another, the picture imprints from a nude, her movements, cut off at the knee, to frame, some print the picture by the glow of the dial
a room, trimmed, ripples, a mess, a mess that only shapes curves and pivots are cause of the shape, they provoke, express or just one other results, only the matter of.
a transit displaces, produces a departure, the journeys, loops the next
a river floods, a road reels out white, ghost-white tint snaps, neat or subtle
cross a border, the dryness, low mountains go along, coloured or rippling, grass, they modulate clouds, some shadows filter pass-high, from olive trees, darken to grey-blue, go down towards, night
Recognize each street, immediately without mistake, have no hesitation
a street, steps, the place that or assembles distances, all disappearances, ditto in nocturnal zone of crowd and seduction
the river terrace where conversation goes on and doesn’t bore, or looks, characterize the place, from, one, towards particularity it isn’t bad to take up the habitual path.
On the hill take it in, in time and the next, succession to clearness caught in the mirror, imprints the atmospheric variations evoking, liquid at sunglint in bursts of cloud-white, think milky or the disappearance, by occlusion gives back, picture, picture of sky reflects next to colourglints
green flap very almandine or almost ranging to blue, to white, that a series overlaps, at which overlaps a strand of, a screen, moving, a, change
sky of set patterns, inside geometry, each troubled by the other.
From terrace two the view over the city or total or global, in descent to, to alleyways suddenly there, corridors sudden sky, open on the or sky like underthings white-grey until foliage, orange-trees and, and a panoramic
terrace three in sun over river-water, the noise, over a very constant grey.
From change or modify places at the distance of, passes, not identify in the distance of years or pass to the terrace on another hill
a public telephone where the crisis arose, arose performed, used to be ruined, renewed now where the added signs modify, far-off identity, identifie in spite of the passage of years, augments, a melancholic, in the brutal sign.
Again see, a chance, in a supermarket, recognize her next by identification and misplace her picture, at this place erase all possible projections established by the picture or project well within.
Set gaze to next, on the terrace, from clouds or narrow slit, exhaled, to the circumscribed colours
sunset passes to, inscribes, which a young woman draws, observes, looks at I, is a project, terrace, endless, doesn’t begin, if not I looks at the view, alters what the exchange transforms.
To electric touch, abbreviation, to zigzag evidence or the little anachronistic-abstract paintings, almost to white circuiting by reducing marks, are portrait and snowscape.
sun, palmtrees and back-lit in the script or filmset already, at the sea-view is still-solar is
the beam, the space between cloud and sea then moves in the distance where
Casablanca, Technicolour-Hergé, the idea of, to be at the edge of, together at, river.
Translation by Lisa Robertson.
ABOUT THE AUTHOR
Éric Suchère was born in 1967. He is a writer and teaches art history and theory at the École Supérieure d’Art et Design de Saint-Étienne. He is a member of the Action Poétique editorial board and of the FRAC Auvergne purchasing committee. Together with Camille Saint-Jacques, he codirects the Beautés series for Lienart Editions. He has written articles for numerous catalogs on artists such as Burkard Blümlein, Raoul de Keyser, Gérard Gasiorowski, Gilgian Gelzer, Michel Gouéry, Shirley Jaffe, Denis Laget, Stephen Maas, Philippe Richard, Peter Soriano… He has published a wide range of books including L’Image différentielle (Voixéditions, 2011), Le Motif albertine (MeMo, 2002), Lent (Le Bleu du Ciel, 2003), Le Souvenir de Ponge (cip M , 2004), Fixe, désole en hiver (Les Petits matins, 2005), Résume antérieur (Le Mot et le reste, 2008), Nulle part quelque (Argol, 2009), Brusque (Argol, 2011), in addition to translating poetry (Hans Faverey, Erik Lindner, Giuliano Mesa, Michael Palmer, Jack Spicer…)
First published in 3:AM Magazine: Tuesday, March 27th, 2012.