The Boîte noire series was born out of a strange feeling of being a voyeur and contemptor of an excitement conducted away from ethical considerations in favor of an algorithmic aesthetic.
«The views made from YouTube videos sorted to retain only
those of the media, translated into jpeg, then modeled in 3D arrange the ruins of war in Aleppo and Damascus in the form of a membrane almost organic and closed on itself. Halfway between the museographic restitution and the video game, these models seem derealized and para-dimensionally re-corporated at the same time.» [extract] «Input Output», by Marion Zilio, Boîte noire 2019.
The object seems circumscribed by a carnal envelope, whose sandy color of the bricks and the blue-gray cinder blocks of the buildings evoke a bruised skin. These quasi-organic membranes, closed on themselves, recover their function of black boxes,
by preserving the memorial trace of the disasters of the war. A memory as if frozen in marble that calls up the history of the cycle of civilizations, from their birth to their decline. Is it a world on the verge of collapse, an anticipated prefiguration of its remains? Or forms in gestation and the announcement of a new era?