This body of work reflects upon the modalities of being and presence in the crystallization of the artwork and on such terms and conditions that affect individual transactions and displacement manifest in the work as a cultural agent. It can be interpret in turn - in relation to the politics of the neo-Baroque movement with its figural displacements and emblematic spaces. It is in these scenarios - which interact and modify the phenomenological space of the real, that the photographic work must be interpreted granting them a spatial dimension within magical realism.                                                                                                                                                                     
The performance, act as a labyrinthine field in which they interact and discuss "the subject that looks, the eye and the look that reflects the environment they inhabit" in search of a path to the object of desire by the emblematization of the bride project immersed in the pursuit of visual spaces activated by perceptual shifts. They mimic a travesty in search of a space that challenges the relationship between the phenomenological analysis of seeing and being present, the identity of desire and the desire for identity, having been subjectified through a mnemonic space imposed by photographic analysis and reassigned in its emblematic significance.
Levinas equates seeing and knowing (sa/voir), "knowledge or vision" (Totality and Infinity 212 [195]), and, as Derrida points out, also equates savoir and voir with avoir, with a possessing or pre-possessing of the other such that s/he is subsumed within the grasp of the knowing or seeing subject. that precipitates, beyond present perception, the absolute speed of the instant (the time of the clin d'œil that buries the gaze in the batting of an eyelid, the instant called the Augenblick, the wink or blink, and what drops out of sight in the twinkling of an eye), but also the 'synthesis,' the 'phantom,' the 'fear,' the fear of seeing and of not seeing what one must not see, hence the very thing that one must see, the fear of seeing without seeing the eclipse between the two, the 'unconscious execution,' and especially the figures that substitute one are for another, the analogical or economic (i.e., the familial) rhetoric of which we were just speaking- the trait-for-a-trait."- Jacques Derrida 

A question of being overdrawn, of the temporality of Being, of trying to fix the beholder's gaze, correcting the reader's gaze, of medusalizing the beholder, placing the beholder in a trance, a displacement of the role of vision bound into Merleau-Ponty's existential phenomenology                                                                                                                                                                 



Holly Zhao - Andreas Guibert

Shanghai, 2006