CHRISTOPHE CHIESA - DE VOUS A MOI (entre autres) Part III - Dead line Amateurs portraits Polaroid® (Zéro® Film or 600®) recovered from scrap (secondhand shop, Internet sites, caritative centers..). Scanned in high-definition, Increased 100 X as seen under a microscope. Retouched, initially on the faces in a visible and recurring way: giving to all the subjects a form of anonymity as well as a family air; then, through nonidentifiables, unquantifiable and nonrecurring interventions. At the beginning, there is a single trace (no negative, no file, no other trace than itself), abandoned, vowe to disappearance. Then, comes the image, aesthetically strong, often by accident (flare, blur, bad exposure, stripes, decomposition of the emulsion or varnish..) aestheticaly pleasing on a square meter scale, but, at second sight, appearing at the edge of the abyss. Or, at the opposite, at first tragic, then playfull or happy.. but looking at it more closely.. not as much as that. Which is the part of set up in these Portraits - Self-portraits? Authorised or stolen pictures? Seized spontaneously or Premeditated? Which truth escapes the control from these amateurs representations and strikes us in the face, increased 100 X? Even if we look for clues with the magnifying glass, as in Blow Up, even if we try to identify concrete, sordid, strange details, if we try to recognize, even partially, an expression, a gesture, we remain alone with our beliefs, only with our beliefs, facing situations that (we can see it and we know it) were retouched a posteriori, but without knowing what was modified added erased Becoming more and nore incomprehensible as we try to understand them, these images remain, in fine, an insolve situation, offering no other answer to our need for understanding than the meaning that we project in them. DE VOUS A MOI (entre autres) explores, by modifying, falsifying a priori documentary traces, the principle according to which a representation, no matter how it's anchored in reality, is always the fiction of the one who looks at it.