Rene Magritte, Dangerous Liaisons, 1926
- Catoptrics (n): The branch of optics that deals with reflection often investigating the phenomena ofreflected light andimage-forming optical systems usingmirrors.
- Etiology (n): The study of causation, or origination; The cause, set of causes, or manner of causation of a disease or condition; An etiological myth is a myth intended to explain a name or create a mythic history for a place or family
- Cenacle (n): A group of people, such as a discussion group or literary clique; The room in which the Last Supper was held.
- Aperçu (n): a brief survey or sketch, an outline; an immediate impression, especially an insight.
- Fuliginous (adj): Pertaining to or resembling soot; sooty, dusky.
- Oleaginous (adj): Rich in, covered with, or producing oil; oily or greasy; Exaggeratedly and distastefully complimentary; obsequious.
- Sigmoid (n): Curved like the uncial sigma (C); crescent-shaped; S-shaped.
- Appurtenance (n): An accessory or other item associated with a particular activity or style of living.
- Davit (n): A small crane on board a ship, esp. one of a pair for suspending or lowering a lifeboat.
- Heuristic (n): Enabling a person to discover or learn something for themselves.
“In a book published nearly 600 years ago, in the year 1420, Venetian engineer Giovanni Fontana proposed a mechanical construction called the Castellum Umbrarum, or “castle of shadows.” Philippe Codognet describes the 15th-century machine as “a room with walls made of folded translucent parchments lighted from behind, creating therefore an environment of moving images. Fontana also designed some kind of magic lantern to project on walls life-size images of devils or beasts.” Codognet goes on to suggest that the device is an early ancestor of today’s CAVE systems, or virtual reality rooms—an immersive, candlelit cinema of moving screens and flickering images.”
‘Nicolas Grospierre was born in 1975 and raised in France, and has been living in Poland since 1999. He studied Political Science and Sociology in Paris and London before turning to photography. His work as a photographer has been focused on the one hand on documentary projects, and on the other hand on more conceptual works. His documentary projects have often been exploring the collective memories of, and the hopes linked to modernist architecture, now that the utopias linked to them have faded away. On the other hand, his conceptual photographic works tend to emphasize mind games, while at the same time displaying attractive, sensual images or even installation.’