In the Soldier’s Head

Bubbling machines, objects that turn, curious levers activated in nothingness, a woman on a divan, yes, no, disappears, reappears. Directly from the core of the imagined, those invisible thoughts are transformed on the screen into the concrete of the experienced, simultaneously setting the unyielding concept in motion. Images in the mind are superimposed by the destruction that is both colour and life. The ink transforms itself like a fuel-powered illusion, that begins and ends like a Fata Morgana – barely there, and then once again vanished. The synapses of a hyperactive psyche – transposed on paper. “Beyond eroticism, it was clear to me that I wanted to talk about cognitive fragmentation as a reflection of the collective experience of colonisation, and that I wanted to achieve that through the break with animation itself”, says Christine Rebet about her work.