„It is because beauty has no end in view that it constitutes the only finality here below. For here below there are no ends. All the things that we take for ends are means. That is an obvious truth. Money is the means of buying, power is the means of commanding. It is more or less the same for all the things that we call good.
Only beauty is not the means to anything else. It alone is good in itself, but without our finding any particular good or advantage in it. It seems itself to be a promise and not a good. But it only gives itself; it never gives anything else.“ (Simone Weil)

Among all the authors whose texts I’m using for my works, Simone Weil (1909-43) is the most recent one. Compared to the larger part of the Western mystics who often were so drawn into their inner experience of God that they were almost numb to the events of the outside world and to the conditions of their respective societies, Simone was quite the contrary: Having grown up in an intellectual and agnostic family with jewish roots, at a young age she became a political activist interested in social justice issues (she would even work as a labourer in the car-factories to experience the conditions of the working class); a couple of revelations and exstasies however lead her closer and closer to Christian spirituality which she internalized, reflected and applied on her own life with a rigour and consequence that cannot be but admired. Her late works, letters and notes are of a beauty which make me shiver every time I read them: Clear and sharp like a razor blade, but with an integrity of character and intellect that give her the innocence of a martyr. – „Being innocent, that’s to carry the weight of the whole univers. It means to throw the counterweight“, she wrote in her Cahier VI. Every thought like a cut, an open wound: „Every time I think of the crucifixion, I commit the sin of envy“, she wrote to her dominican friend Père Perrin. Also in her Cahier VI, there’s the note „Passage à la limite“ – it could be the title of her biography. With the above work I try to follow her a few steps, to ‚become her‘ at least for the duration of transcribing her text onto my photograph.

‚L’amour implicite‘ (2019), China ink on silver gelatin print, ca. 40×58 cm / 16×24 inch; framed 60×80 cm / 24×31.5 inch).