 Michael Flomen’s works encompass an abstract, oneiric space that we cannot easily reference, for it is openly ambiguous, hovering somewhere between the dream and the waking moment.
 Seeing light is a metaphor for seeing the invisible in the visible, for detecting the fragile imaginal garment that holds our planet and all existence together. Once we have learned to see light, surely everything else will follow. —Arthur Zajonc1
By Jacques Doyon Seeing better, seeing farther; disrupting the representation, dissolving it: these approaches seem contradictory. Yet, paradoxically, they hew to a single frontier: that of the visible and representable, that of the limit of our capacity to see and our perceptual expectations.  This article was originally published only in French. No translation is available. Voir aussi l'article reliéTout l’œuvre de Paul Lacroix est marqué d’une fascination pour l’inscription de la surface du papier. Du dessin au photogramme, c’est à une écriture d’une cohérence extrême qu’il nous convie.
 This article was originally published only in French. No translation is available. – Read the Abstract Voir aussi le portfolio de l'artiste[…]la photographie n’est pas affaire seulement de cadrage, ni de visée, et moins encore d’ouverture du diaphragme ou de durée d’exposition, mais de profondeur de temps (au sens où l’on parle de profondeur de champ). — Hubert Damisch, La dénivelée
 This article was originally published only in French. No translation is available. Voir aussi le portfolio de l'artisteEt si l’on envisageait l’histoire du regard par le biais de l’arrêt et du départ, de la surface et de la perspective, du rapprochement et de l’éloignement : ces paradoxes apparents s’entrelacent inextricablement pour composer notre manière d’appréhender le monde visible. Le regard est amené à considérer ce qui lui est offert dans un incessant jeu de va-et-vient et de remise au point.
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