{"id":886,"date":"2015-05-26T18:16:33","date_gmt":"2015-05-26T17:16:33","guid":{"rendered":"http:\/\/www.reynalddrouhin.net\/wrks\/?p=886"},"modified":"2026-08-27T09:31:04","modified_gmt":"2026-08-27T08:31:04","slug":"isometric-monolith","status":"publish","type":"post","link":"https:\/\/www.reynalddrouhin.net\/wrks\/isometric-monolith\/","title":{"rendered":"Isometric Monolith"},"content":{"rendered":"

R\u00e9alis\u00e9 en 2015, Isometric Monolith<\/em> est un ensemble photographique compos\u00e9 de trois s\u00e9ries, Signe<\/em>, Contact<\/em> et Message<\/em>. Dans chacune d’elles, une forme g\u00e9om\u00e9trique isom\u00e9trique appara\u00eet au sein d’un paysage, parfois de mani\u00e8re presque imperceptible. Le monolithe semble appartenir \u00e0 l’image tout en introduisant une rupture dans sa continuit\u00e9.<\/p>\n

La forme n’est pas simplement superpos\u00e9e au paysage. Construite \u00e0 partir de d\u00e9placements et de retournements de l’image, elle perturbe la perspective et produit un espace impossible. Le regard h\u00e9site alors entre volume, d\u00e9coupe, reflet, porte ou absence. Ce qui para\u00eet d’abord \u00eatre une anomalie devient progressivement une pr\u00e9sence.<\/p>\n

Les trois s\u00e9ries d\u00e9placent le statut de cette apparition. Dans Signe<\/em>, le monolithe agit comme un indice inscrit dans le paysage. Message<\/em> accentue l’id\u00e9e d’une forme \u00e0 interpr\u00e9ter, comme si l’image contenait une information dont le code nous \u00e9chappe. Contact<\/em> transpose cette pr\u00e9sence dans des paysages cosmiques issus notamment d’images astronomiques de Hubble, rapprochant davantage le monolithe des imaginaires de communication, de passage et de science-fiction.<\/p>\n

Isometric Monolith<\/em> travaille ainsi sur la limite entre perception et interpr\u00e9tation. La g\u00e9om\u00e9trie ne d\u00e9livre aucun message explicite : elle produit les conditions d’un doute. Quelque chose semble avoir eu lieu, \u00eatre pr\u00e9sent ou chercher \u00e0 appara\u00eetre, sans que l’image permette de d\u00e9terminer exactement quoi.<\/p>\n

Entre paysage, abstraction et science-fiction, le monolithe fonctionne finalement comme un signal sans contenu d\u00e9fini. Il ne r\u00e9sout pas l’image, il l’ouvre \u00e0 une autre lecture.<\/p>\n

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Signe<\/strong>, 2015, tirage lambda sur diasec avec chassis aluminium, 54 x 36\u00a0cm.
\nS\u00e9rie de 6\u00a0photographies en 5\u00a0ex. + 2 E\/A.<\/p>\n

\"signe-1130\"<\/a>
\nn\u00b01<\/p>\n

\"signe-1134\"<\/a>
\nn\u00b02<\/p>\n

\"signe-1137\"<\/a>
\nn\u00b03<\/p>\n

\"signe-1142\"<\/a>
\nn\u00b04<\/p>\n

\"signe-1167\"<\/a>
\nn\u00b05<\/p>\n

\"signe-1155\"<\/a>
\nn\u00b06<\/p>\n

\n

Contact<\/strong>, 2015, tirage lambda sur diasec avec chassis aluminium, 54 x 36 cm.<\/p>\n

S\u00e9rie de 8\u00a0photographies en 5 ex. + 2 E\/A<\/p>\n

Images emprunt\u00e9es au top 100<\/a> de Hubble Space Telescope<\/a>\u00a0\/\u00a0Original image by ESA\/Hubble<\/span><\/p>\n

\"contact-1119\"<\/a>
\nL’image de VST de l’amas globulaire g\u00e9ant d’Omega Centauri
\n<\/a>Credit: ESO\/INAF-VST\/OmegaCAM. Acknowledgement: A. Grado,\u00a0L. Limatola\/INAF-Capodimonte Observatory<\/span><\/p>\n

\"contact-0602\"<\/a>
\nLargest ever galaxy portrait – stunning HD image of Pinwheel Galaxy<\/a>
\nCredit: Image: European Space Agency & NASA
\n<\/span><\/p>\n

\"contact-0604\"<\/a>
\nThe magnificent starburst galaxy Messier 82<\/a>
\nCredit: NASA, ESA and the Hubble Heritage Team STScI\/AURA<\/span><\/p>\n

\"contact-1011\"<\/a>
\nHubble view of the huge star formation region N11 in the Large Magellanic Cloud<\/a>
\nCredit: NASA, ESA and Jes\u00fas Ma\u00edz Apell\u00e1niz (Instituto de Astrof\u00edsica de Andaluc\u00eda, Spain)<\/span><\/p>\n

\"contact-1206\"<\/a>
\nHubble’s panoramic view of a star-forming region<\/a>
\nCredit: NASA,\u00a0ESA, ESO, D. Lennon and E. Sabbi (ESA\/STScI), J. Anderson, S. E. de Mink, R. van der Marel, T. Sohn, and N. Walborn (STScI), N. Bastian (Excellence Cluster, Munich), L. Bedin (INAF, Padua), E. Bressert (ESO), P. Crowther (Sheffield), A. de Koter (Amsterdam), C. Evans (UKATC\/STFC, Edinburgh), A. Herrero (IAC, Tenerife), N. Langer (AifA, Bonn), I. Platais (JHU) and H. Sana (Amsterdam)<\/span><\/p>\n

\"contact-1302\"<\/a>
\nHubble view of M 106<\/a>
\nCredit: NASA, ESA, the Hubble Heritage Team (STScI\/AURA), and R. Gendler (for the Hubble Heritage Team).<\/span><\/p>\n

\"contact-0711\"<\/a>
\nStellar fireworks are ablaze in galaxy NGC 4449<\/a>
\nCredit: NASA, ESA, A. Aloisi (STScI\/ESA), and The Hubble Heritage (STScI\/AURA)-ESA\/Hubble Collaboration<\/span><\/p>\n

\"contact-1438\"<\/a>
\nSpiral galaxy M81<\/a>
\nCredit: NASA, ESA, A. Zezas (CfA), and A. Filippenko (UC Berkeley)<\/span><\/p>\n

\n

Message<\/strong>, 2015, tirage lambda sur diasec avec chassis aluminium, 54 x 36\u00a0cm.
\nS\u00e9rie de 20 photographies en 5\u00a0ex. + 2 E\/A.<\/p>\n

\"IMG_2176\"<\/a>
\nExposition Variation 2015<\/a>, Paris.<\/p>\n

\"message-rd\"<\/a>
\nExposition Capturer l’\u00e9ph\u00e9m\u00e8re<\/a>, 2015,\u00a0Galerie Vanessa Quang, Paris.<\/p>\n

\"1871\"<\/a>
\nn\u00b01<\/p>\n

\"1856\"<\/a>
\nn\u00b02<\/p>\n

\"1855\"<\/a>
\nn\u00b03<\/p>\n

\"1852\"<\/a>
\nn\u00b04<\/p>\n

\"1851\"<\/a>
\nn\u00b05<\/p>\n

\"1850\"<\/a>
\nn\u00b06<\/p>\n

\"1849\"<\/a>
\nn\u00b07<\/p>\n

\"1817\"<\/a>
\nn\u00b08<\/p>\n

\"1814\"<\/a>
\nn\u00b09<\/p>\n

\"1813\"<\/a>
\nn\u00b010<\/p>\n

\"1763\"<\/a>
\nn\u00b011<\/p>\n

\"1762\"<\/a>
\nn\u00b012<\/p>\n

\"1758\"<\/a>
\nn\u00b013<\/p>\n

\"1757\"<\/a>
\nn\u00b014<\/p>\n

\"1754\"<\/a>
\nn\u00b015<\/p>\n

\"1753\"<\/a>
\nn\u00b016<\/p>\n

\"1752\"<\/a>
\nn\u00b017<\/p>\n

\"1749\"<\/a>
\nn\u00b018<\/p>\n

\"1748\"<\/a>
\nn\u00b019<\/p>\n

\"1747\"<\/a>
\nn\u00b020<\/p>\n

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Created in 2015, Isometric Monolith<\/em> is a photographic body of work composed of three series, Signe<\/em>, Contact<\/em>, and Message<\/em>. In each of them, an isometric geometric form appears within a landscape, sometimes almost imperceptibly. The monolith seems to belong to the image while simultaneously introducing a break in its continuity.<\/p>\n

The form is not simply superimposed on the landscape. Constructed through shifts and inversions within the image itself, it disrupts perspective and produces an impossible space. The viewer hesitates between volume, cut, reflection, doorway, or absence. What first appears as an anomaly gradually becomes a presence.<\/p>\n

The three series shift the status of this appearance. In Signe<\/em>, the monolith acts as an index inscribed within the landscape. Message<\/em> reinforces the idea of a form to be interpreted, as though the image contained information whose code remains inaccessible. Contact<\/em> transfers this presence into cosmic landscapes, drawing in particular on astronomical images from Hubble and other scientific sources, bringing the monolith closer to imaginaries of communication, passage, and science fiction.<\/p>\n

Isometric Monolith<\/em> thus operates at the threshold between perception and interpretation. The geometry delivers no explicit message; it creates the conditions for doubt. Something seems to have happened, to be present, or to be attempting to appear, without the image ever allowing us to determine exactly what.<\/p>\n

Between landscape, abstraction, and science fiction, the monolith ultimately functions as a signal without fixed content. It does not resolve the image; it opens it to another reading.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

<\/div>\n<\/div>\n
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<\/div>\n<\/div>\n<\/div>\n<\/section>\n<\/div>\n<\/div>\n
<\/div>\n","protected":false},"excerpt":{"rendered":"

S\u00e9rie : Message, Signe, Contact, 2015, tirage lambda sur diasec avec chassis aluminium, 54 x 36\u00a0cm.<\/p>\n","protected":false},"author":3,"featured_media":297,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"Isometric Monolith","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[69,4],"tags":[919,924,299,327,5,6,303,661,205,222,7,914,304,991,103,515,331,55,206,292,358,27,186,9,10,152,11,12,51,514,915,472,207,13,208,769,209,698,337,357,36,210,14,291],"class_list":["post-886","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-internet","category-photographie","tag-absence","tag-abstraction","tag-anthropocene","tag-apparition","tag-ciel","tag-cloud","tag-collapse","tag-communication","tag-contact","tag-cosmos","tag-decoder","tag-decoupe","tag-effondrement","tag-enigme","tag-espace","tag-fiction","tag-geometrie","tag-horizon","tag-indice","tag-invisible","tag-isometrie","tag-lumiere","tag-mer","tag-message","tag-monolithe","tag-narration","tag-nuage","tag-passage","tag-paysage","tag-perception","tag-perspective","tag-photographie","tag-plage","tag-porte","tag-presage","tag-presence","tag-preuve","tag-reflet","tag-retournement","tag-science-fiction","tag-signal","tag-signe","tag-sky","tag-trace"],"jetpack_publicize_connections":[],"jetpack_shortlink":"https:\/\/wp.me\/p72hz6-ei","jetpack_sharing_enabled":true,"jetpack_featured_media_url":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-content\/uploads\/2015\/05\/signe-1130.jpg","_links":{"self":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/886","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/comments?post=886"}],"version-history":[{"count":4,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/886\/revisions"}],"predecessor-version":[{"id":1500,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/posts\/886\/revisions\/1500"}],"wp:attachment":[{"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/media?parent=886"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/categories?post=886"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.reynalddrouhin.net\/wrks\/wp-json\/wp\/v2\/tags?post=886"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}