In an environment saturated with images, what is\u00a0left to the artist to tell about the world? What means can he use if\u00a0he wishes\u00a0his works not to be diluted in the mass, no sooner seen than\u00a0forgotten?<\/p>\n
Georges Dumas is a photographer. Just like everybody\u00a0else today. Which is why he chose to no longer be a photographer and\u00a0to replace his pictures by simulacra: he no longer takes pictures,\u00a0he produces images. For that purpose, he uses durable\u00a0materials which\u00a0resist to indifference and time: stone, marble, concrete, wood; when\u00a0flesh has rotten, when breath has passed\u00a0away, when life has\u00a0gone through another period, through other people, those materials\u00a0will remain, immutable remnants of\u00a0perishable.<\/p>\n
To make an image, we need solid\u00a0bricks. Those of our digital age are called\u00a0pixels. Pixels which are not only on our screens,\u00a0but screen out\u00a0our perceptions. In doing so, they hide the reality they are\u00a0supposed to represent and create a new, virtual,\u00a0though tangible one:\u00a0a transfigured reality.<\/p>\n
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