"The world is a huge Narcissus in the process of thinking. Where is it better to think than in images?"Gaston Bachelard
S-ici is a visual installation on the theme of identity, including community identity and its involvement in an interactive space. An image / poetic process is developed by the public as a whole. Among the latter, a disturbing figure helps to amplify its actions / reactions, it is not the figure that creates the presentation, the figure is nothing more than a catalyst.

Initially the minimum conditions for a traditional presentation are created, based on theatre and film conventions: Lights, the position of the audience, a screen. Everything suggests that we will attend a show or a film. The lights go out, however there is little residual light and we understand that the video projector is turned on. A character dressed a little strangely is in the audience.

Push the audience’s patience until they react. Then create real-time images that appear on the screen and record their reactions. Do this in such a way that the image is not immediately interpreted. We make it out slowly…the image is unstable, pale, blurred, fluttering; and then, after some time, the spectator realizes that it is their own image that they are seeing, then that this image changes according to their actions, that they can interact with it. If they stop moving the image disappears: the mirror image is only apparent when the software analysing the video transmission coming from the camera detects motion; only these zones are transmitted to the video projector. When movement is no longer detected, the image gradually fades. During this period the strange character moves about and changes places.
In a second step, it is as if the public lived in another location as if they were ghosts: a park at night, a distant city, an abstract image, a wall, a table. Movements that affect the public image (colour, deformations) so that viewers feel they have been transported to a surreal and poetic place. Their presence is revealed in the projected image, because it is altered where a movement is detected. For example, you try the video of a fallow field in the wind but the waves of grass would be levied only where the device detects movement of spectators.

Ensure that the image is always fleeting, ephemeral, elusive.

The disturbing character, played by an actor-dancer or a dancer, begins playing with these images and continues their processing. They become facetious and appear to be divided between the audience and the audience’s actions on the screen, each loses control of the show. At the end the image that is projected not drift more than a pre-existing image, but is totally generated by the action of participants. The improvisation that follows, is not a priori limited. On a disturbing yet disappears after a certain time (maybe 15 minutes) Then, at a moment chosen according to the situation, the sound of a bulb bursting is heard and the image stops. The audience believes that the system has broken down.