My work establishes an ontology of the "particular moment" as a state of phenomenological grace where consciousness suspends its usual flow to capture the coincidence of temporalities. Here, subrealism becomes a method for mapping these moments where sensory memory and immediate presence interpenetrate—not as a superposition but as an alchemical fusion. The reference to Van Gogh goes beyond homage to question his quest for perceptual truth: where the master sought to paint "the essence of things," I attempt to explore the essence of states of consciousness.

Hybrid Materialities as a Subrealist Language:

Photographed acrylic on canvas captures the trace of gesture in its organic physicality, a direct echo of gestural Abstract Expressionism (Pollock, De Kooning) but transposed into a digital archaeology. Photography becomes a rite of passage between realms—it fossilizes the pictorial gesture to better revive it in the digital space. Frame-by-frame animation, in its minimalism, reproduces the very mechanism of memory: selection, fragmentation, and rhythmic reconstruction of impressions. This material dialectic embodies Van Gogh's tension/harmony dualities on a technological scale.

Subrealism and the aesthetics of remanence:

Subrealism finds its full expression in the treatment of memories as "ghost images"—those retinal persistences of the soul that my animation makes pulse with an almost organic impulse. Each digital frame becomes the cell of a larger memory organism, creating a visual polyphony where the original pictorial gesture (Van Gogh) dialogues with its successive reinterpretations. This stratification recalls medieval palimpsests, but transposed to the era of big data memory. Poetics of Digital Coexistence:

My work lays the foundations for a true media ecology where the physical and the digital no longer oppose each other but develop unprecedented symbioses. The painted canvas becomes the "body" of the work, the animation its "digital soul"—not as a Cartesian duality but as a quantum entanglement where each element affects the other. This approach responds directly to the contemporary hybrid condition: we simultaneously inhabit physical space and digital territories, and art must invent the forms of this coexistence.

Van Gogh as Proto-Digital:

By specifically revisiting "Souvenir of the Garden at Etten," I reveal a prophetic dimension in Van Gogh: his obsessive practice of reuse (more than 30 versions of Sunflowers) anticipates the culture of digital remixing. His treatment of light as vibratory energy literally prefigures digital pixelation. My homage thus becomes a transhistorical dialogue on the permanence of ontological questions through the evolution of technology.

The central black pixel:

The black pixel introduces a rhythmic breath into the digital flow. It acts as a haptic anchor in a primarily optical environment—a paradoxical reminder that digital contemplation requires tangible fixation points.

Pixel Mediology as a Meditative Cell:

Technically, this single pixel in a sea of ​​digital data represents the minimal unit of consciousness in the contemporary attention economy. It evokes the search for stability in a hyperkinetic world. It becomes the grain of sand in the perceptual machine—a disruptive element that forces contemplative pause.

Positioned at the heart of the composition, this black pixel reactivates the point of balance where dualities (physical/digital, memory/presence, tension/harmony) find their resolution.

Mnemonic Function and Temporal Depth of Field:

This pixel operates like a memory hole in the work's temporal stratification: it pierces the layers (Van Gogh 1881 → acrylic painting 2024 → digital animation) to create a direct passage to the original dimension of memory, like the black boxes that preserve the essential.

Episteme of the Fixed Point:

In a culture of permanent scrolling, this immutable pixel becomes an act of contemplative resistance. It embodies the paradox of the particular moment...

Conclusion: For an Aesthetics of Perceptive Benevolence

"The Particular Moment" attempts to transcend the status of a work of art to become an ethical manifesto: in a world of constant demands, art must cultivate these oases of attention where the gaze can regenerate. Xanthopsia is not an illusionist filter but a spiritual exercise—learning to discern, in the apparent chaos, those moments when everything "fits together" according to a logic that defies understanding but can be captured by artistic intuition. My work thus offers nothing less than a pedagogy of perception for the digital age.

The Particular Moment: Xanthopsia 176:

Tribute to Van Gogh:

« Memory of the Garden at Etten (Ladies of Arles)  »

in hermitage museum collection

Digital art version :

3840 x 2160 px / 4K MP4 / 108 Mo / 7 fps / 1/1 édition on @objktcom