The photograph „Ego skin II, London 1999“ belongs to a group of 12 seminal images, published in 2003 in the port-folio „Un Horpe, ailleurs“.
This selection of photographs was introducing a visual concept who could serve as a tool, who could function as an operational mode: the concept of Horpe.

As conceptual tool for critics and analyse, Horpe is certainly tied to ubiquities and exist as a becoming, a diagram of intentions.

As such, and hopefully, all Images relying to the Horpe concept and culture of investigation, offer multiple capacities. They are supposed to throw distances, aim at the opening of spaces, and willing to access hidden or remote levels, penetrate undefined zones.

Assuming the void as a potential geography is part of the game. But deciphering chaos is indeed a hard task… Nevertheless, those images try to bring clues. On the one hand, they follow a fine line that goes nowhere particularly but remains, as such, a strategy: the patient notation of a choreography of forms and of spectral informations.

On the other hand, it’s always possible to ignore completely Horpe as Horpe is only one suggestion among an infinity.
You can always settle for other concepts of investigation, formulate your own theories and praxis of representation.
Some can also decide to remain passive, pretend to be unconcerned, and assume the risk of being overflowed or out-powerded by laws and hubris of alterity fighting their ways and searching to take power.

Horpe was a forged concept that remains only as a self defense tool against all type of flattering propaganda: a kind of weapon. You don’t have to use it, if you don’t like it or if you don’t need it. But it is available. And it is powerful.

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