Cercle en contorsion sur trame
1965
wood, motor, rhodoïd
123 x 132 centimeters
Using the theoretical principle of the mirror, LE PARC questions the usual polarity between object and subject. The mirror—the phenomenal medium par "excellence", and highly permeable to its environment—receives the image of the surrounding world, but never freezes it in the way photography or even cinema does. Unlike many of the artist's works containing mirrors, the goal is not simply to trap light, but also reflect what is around it.
