'When I was invited to show at Fabrica I wanted to make a new piece called Everchanging that was a re-exploration of part of an installation – Infini – that I had recently conceived for an exhibition at the Passerelle art centre in Brest.
In that exhibition, the 71 silicone modules that made up the work were set out on the ground so that they covered the whole of one of two spaces. As soon as visitors crossed the threshold of the exhibition, they were led to an immediate and physical experience of the work by walking on it and in so doing contributing to its ongoing development.
I see this as a ‘work in progress’. Like several of my previous works, Infini is an installation conceived to be revised, deconstructed or remixed with other works. What characterizes many of my pieces is that they are never frozen in time. What often emanates from them is a feeling of fragility, a disturbing strangeness. By their very nature unstable, my works are marked by problems associated with dissolution and disappearance in a world that never ceases to remake itself.
The interaction between the visitor and my work during an exhibition seems to be of growing importance in my recent projects. Through such devices as Infini, one of my major preoccupations was to record in a subtle and refined way the almost imperceptible traces left by the succession of visitors: a slow but definite change that day by day obliterated the scintillating, undulating and multicoloured surface finish of the Infini installation.
Thus the Fabrica project, Everchanging, is seen as a freeze frame, a moment in the spotlight, a time of transitory exposure to give an account of a story, the intensity of a personal experience.
To achieve this I have chosen to erect, like vanities, 40 of the 71 modules that make up Infini, and to set them individually on a white ground and thus offer them up for contemplation.
This (re)presentation is an attempt to make a record of a temporary state, a transitory glimpse, in the knowledge that once this intervening period of exhibition at Fabrica is over, these pieces will reassume their original destiny as a new installation on the ground in another space.
The arrangement of this new installation in situ is like a maze in which the visitor is led to wander; a topological place inside which each screen is to be seen as a visual stop. This labyrinthine layout is a desire on my part to echo a previous installation, Mes Ruines.
As Marc Auge so eloquently said: ‘To contemplate ruins is not to make a voyage into history but to experience time, pure time.’'
François Daireaux, June 2005