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The living fire from heaven

The other Tonight I made a detour to the river between Rives and Mérigny. At the foot of the cliff at the waterfront, a man of the village was burned branches and stumps that remained on the ground after the tall poplars have been cut in a room flooded in a bend of the Anglin. "We must burn everything," said the man, save the river they will prevail and the damage ...". The fire was so close to the water and sky that I returned my camera. (Return the world, we return to ourselves, is our vocation) The man to whom I showed the map on the screen of my camera says "It's like fire from heaven." It was the through the first filmed this year. Here it is.
The text is what I said in 2002 to introduce thousand thanks thousand tears of joy, my film that brought together the graces of those years and I presented at the House of bees Ingrandes, the small village next door to me.

If calls poetic form words or pictures that sings the prettiness, the bucolic charm of natural things: flowers, small Birds, butterflies, springs, glades, the pretty faces we remain at a superficial outdated and poetry for me is the negation of true poetry. The poetry is dying of poetry. Poetry is dying of love poetry of the thing, this passion for kitsch poetic subjects.

It is not enough to align the names of things to make a poem poetic and true poet does not seek to the poetic as the true artist does not seek to make art. If painters like Cezanne or Picasso, if poets like Rimbaud and Hölderlin, were kept to name names of things or to make images of apparent reality, that they would align pictures, images flat, empty, exhausted, belaboured.

be a poet or painter is not mentioned but encouraging, it is not relying on what appears, but rather the apparent distrust. The poet, in my opinion, does not look like a rose Silesius saying that the rose is without why, it seeks instead to understand why the pink and wants to say so in the proper form of a word that simultaneously captures the rose itself and in itself, in a romantic encounter between himself and Rose.

Image from Grace 22042001 - Puddle in a garage

The poet is the true man, ontological, he who hears the rose in him, which becomes the rose and that becomes pink, the living, by whom she becomes human and alive. The artist said Malraux does not imitate nature, he is the rival! This means to me that the artist can not simply rent nature but must go beyond it, penetrate it, disclose it for cache, to raise his singular truth, know her very being, that is to say born with it, love it really.

A poet who says the name of a flower or a tree, a painter who included an apple or a pipe needs to know, like Magritte, for example, that the picture is not a pipe or an apple, but it is an array, ie that it is not a picture of this or that but a reality in itself, a sensitive and vibrant, like rose, apple or pipe, which is made up of colors and shapes, light and vibration, energy, forces, blast, painting as poetry are manifestations of the miracle that makes visible the invisible and mysterious emergence of all reality: painting, poem, apple, animal rights, is simultaneously outside and within us.

That, I think he meant that Rimbaud in his famous formula: must be absolutely modern.

Thus, staying with the literalness of it seeming to settle for a sterile copy that remains below its model is to show that we have seen nothing of the being of what is there is to betray what is claimed to celebrate is to deny the true artists that are seeking to emulate without seeing what they want us to see is still deceiving himself and deceive the world and the living.

Art, Cézanne said, is reserved for very few people! Most, in fact, remains on the surface of the familiar and reassuring appearance, riveted to the images.

But we live in an age where pictures are present so they cover what it is to be. We now see the world and the living as the permanent show us images of the show. And it goes very far! So when we look at our face in a mirror or when we give it to others to see, we feel how we are obsessed with our image, our skin surface as my friend Guy Delrez. These images of ourselves are built by the media systems of representation. And these images we tyrannize. The dictatorship of appearances consumes our being and the tyranny of appearance of exteriority, is, in my opinion, the major cause of the current identity crisis.

Similarly when we look at a landscape: the sea, a sunset, a mountain snow, for example, we do not see more in their being, nor how they appear mysterious, we test a shot!

Pasolini had already said in the sixties that we lost the vision Cezanne, sensing the coming tyranny of images, "said a century before he had to hurry to see things before they disappear . He was bent on painting for us and against his hostile contemporaries few antidotes to blindness.

These things said, you'll wonder why I made a movie!

As I said, I could not make this film in trusting the images but rather by challenging me. And more so that the technique has achieved a degree of perfection illusionist paralyzing and confusing! So I turned my eye and the glass eye of my camera to nature. I wanted a minimalist film form made plans sequences that follow the natural movement of the eye and phenomena, I dismissed the staging, assembly, manufacture, production, fiction, short everything is the usual cinema spectacle. We will talk again ...

Now to The main intention of this exhibition and the film.

In 1997, I moved here in the Brenne - The country of thousand lakes - the land of water, rivers and springs. In this country, I saw a thousand eyes, a thousand eyes, a thousand mirrors, a thousand miracles, natural and perpetual thousand films, moving reflections thousand times a thousand at any moment and I wanted the film to give you see and simply refer you to their reality. That's why every plan ends with a to follow ... who wants a finger pointing toward the source. Actually

say, billions of billions of films are designed and created around the earth continuously by nature, and it for billions of years, long before the invention of photography and film by the technique.

This film does thousand thanks therefore shows some images from these images infinite, he can not keep a little piece of this movie cosmic created spontaneously and incessantly with these infinite games and moving liquid mirrors such as rivers, ponds, puddles, dew drops and the eyes of the living.

our eyes, "said George Braque , are light injuries - Yes, injuries wetted which flows into our souls the light dazzled the world, so we can see and think, but especially so that we felt its mystery, that we knew and loved ...

By this attention to natural images long before the artificial images of the art, I still hope to relativize your eyes the whole time that our power to give the technique a bit and fold the claim of modern man imbued with his formidable powers to the world. I would also do justice to the true Creator all of these mysterious phenomena which we regard as natural for granted: light, water, fluidity, shadow, movement and life. A coup for the providential Creator who names God and without which there would be no film not only possible, but no life, no living man. Perhaps then we will also remember that animated means be provided with a anima, soul alive!

But another result of those intension it: revive an essential faculty of the human soul, a faculty specular living: our imagination. Yes, what is sight in the mirrors and fluid animation of your Sanctuary, I invite you to admire it - say to turn your imagination, your eye inward to the outside, the world is reflected, and looks up to you. Know this, that you look at the created world should you cross his eyes, you turn to him and his Creator to your inner eye, your eyes alive and knowing, that is, your imagination, which is other than your soul, reflecting and collecting.

It is from the reopening the eye of our soul that we become again a poet, that we become again what we truly are: living men called to be co-creators of the world and life, men who cross the surface of the obvious and apparent, to enter the illuminated reflection within the soul - what Rimbaud, with the mystics, has appointed Illuminations.

then rolled to the very source of our being, where flows the Word of Life, we see and hear mysteriously arise in us the words, sounds, rhythms, shapes, colors, visions, epiphanies, the lights and joys of being given. reviving our creative imagination, we réanimons our soul and the world which then recognize, love, by giving each other the to one another.

Knowing that way is to start thinking really is becoming a man capable of love, to receive and to give thanks is to be able to again of God, come back and live the Word and House to be as Martin Heidegger says, a house that is other than the House of the Word of God is still be open, as Rimbaud said, to possess the truth in a soul and body. It finally see it all starts at every moment in the Present. It

grasp the miracle of our creation and continued the sacred law of life that proclaims every human face, the only law which is sufficient for us to live together.

Dear friends, remember that we're all in this dark background of the poets enter gratitude, enter poetry infinite Life.

Text said at the opening of the exhibition and the film of Robert Empain entitled " thousand thanks, a thousand tears of joy, a film infinity, the Beekeeping at home Ingrandes - Indre, July 20, 2002

Illustration: With video February 16, 2011