Video loop, 42 mn 36.
In Seize him!, an excerpt from Theorem, shown in back and forth, is used as a narrative frame on which parade two by two, by transparency games, the same details of two variants of the same work of the Caravaggio – the versions of the Fortune Teller of the Louvre museum and the Pinacoteca Capitolina of Rome – and a related painting – the Cardsharps of the Kimbell art Museum of Fort Worth in Texas.
The symmetry built between the two components of the diptych which addresses the three paintings two by two, makes it possible to highlight the variations, sometimes subtle, which they offer around common or related themes. It marks their propensity to resonate differently in the links they weave with the shots of the film. The proposed dialogue is disturbed, at times, to offer a freer interpretation of the exploited images, in a freed harmonic construction of the analytical process put in place.
On the sidelines of the gaze on the art of Caravaggio, the reflection committed makes a detour in the formal research of a Francis Bacon whose painted work appears massively summoned by the illustrations of a catalog consulted by the protagonists. These help to significantly move the questions of representation and decomposition of figures, volumes and structuring of the image, even formal appropriation that the Teorema series sets up. By linger on the gestures of the protagonists, the montages exacerbate the touch dimensions at work in the paintings and point to the wide variety of their emotional impact.
