60 dossier Aurélie Cavanna ——— ries (started in 2015), which, apart from old cinemas, in between staging and memories of another era, contains drawings where several seconds – including subtitles – superimpose: the face of a young woman, a roadside landscape in double exposure and this suspended sentence: “I imagine the days to come”. Beyond a mere cinematic reference, Dufois works on what images can record of the past and what memory makes of it. The series (started in 2015) starts with his childhood family films made in Super 8: a single photogram which he draws blurrily, much like our inevitably incomplete memories. After retracing his own origins, Dufois delved into the origins of images. In 2017, during an artist residency near the Lascaux Mathieu Dufois is a young French artist who is starting to distinguish himself. This year’s fair having opened to film, he is among those who have explored the hybrid potential of drawing – in this case through his work in black stone. Cinema is present from the start, at first as a reference. Case inpoint: his series titled (started in 2013) – the latest drawing is on exhibition –, inspired by 1940s50s films noirs. With shots taken from iconic sequences charged with a gloomy and tense atmosphere, Dufois makes his very own montage; he thus creates on paper, through accumulation, what would be the remaining image, quintessential and blurry, of a longlost film. On the stand, this temporal “skimming” takes shape in the se- L’Éclipse Hors Vue Movie Theatre
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