_August 3, 1965_Santa Ana, California, USA_12:37_Rex Heflin, a road worker inspecting the state of the Myford Road, was driving his van when he spotted an object in the sky. He stopped his vehicle, grabbed his Polaroid camera - model 101, chrome alloy body, triplet lens, telemetric viewfinder with image superimposition and parallax correction, 114 mm focal length, maximum aperture 8.8, ASA 3000 - and managed to take 3 shots before the flying object disappeared at high speed in a cloud of smoke. 

 

 

There is no connection between this event and the work presented here. At most, there is a connection between the facts, to underline a working method and an interest in the image, re-use, the invisible, loss and becoming.​

 

 

 

The Work of Vincent Mesaros: Between Appearance and Disappearance​The work of Vincent Mesaros explores the tension between memory and oblivion, trace and disappearance. His creations are not ends in themselves, but supports for fragmented narratives and beliefs. Mesaros refuses to explain his work, preferring to distil clues, as the introductory paragraph suggests, so that viewers can construct their own interpretations, thereby cultivating mystery and enigma.

 

Faced with a world saturated with information, Mesaros adopts a critical stance. His work, imbued with mysticism, acts as an act of resistance against the erasure of the individual word. His work is presented as an archaeology of the sensitive, seeking to capture the elusive and make visible the invisible. For him, the image is not a simple representation, but an act, a ritual and an experience of disappearance.

 

The critical texts that accompany his work are generated by artificial intelligence. This choice, in keeping with the logic of his work, extends esotericism through technology, acting as an “oracle” without an ego. This algorithmic mirror reinforces the speculative and critical dimension of his work by proposing readings without ever fixing a definitive meaning.