{"id":1470,"date":"2022-02-15T16:02:57","date_gmt":"2022-02-15T15:02:57","guid":{"rendered":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1470"},"modified":"2022-03-08T09:27:05","modified_gmt":"2022-03-08T08:27:05","slug":"edward-povey-incomplete-cinematic-portrait%ef%bf%bc","status":"publish","type":"post","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1470","title":{"rendered":"Edward Povey &#8211; INCOMPLETE &#8211; Cinematic portrait"},"content":{"rendered":"\n<h2 class=\"wp-block-heading\" id=\"un-film-de-peter-pahor\">Un film de Peter Pahor<\/h2>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-vimeo wp-block-embed-vimeo wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"003 | EDWARD POVEY | INCOMPLETE | CINEMATIC PORTRAIT\" src=\"https:\/\/player.vimeo.com\/video\/548380340?dnt=1&amp;app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\"><\/iframe>\n<\/div><\/figure>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<div data-wp-interactive=\"core\/file\" class=\"wp-block-file\"><object data-wp-bind--hidden=\"!state.hasPdfPreview\" hidden class=\"wp-block-file__embed\" data=\"https:\/\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Edward-Povey-cinematic-presentation-publique-UK-FR.pdf\" type=\"application\/pdf\" style=\"width:100%;height:521px\" aria-label=\"Contenu embarqu\u00e9 Embed of Edward Povey cinematic presentation publique texte JF Ferbos UK-FR..\"><\/object><a id=\"wp-block-file--media-066cecdd-88af-47d0-bbb7-cdfc60bb81f1\" href=\"https:\/\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Edward-Povey-cinematic-presentation-publique-UK-FR.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">Edward Povey cinematic presentation publique texte JF Ferbos UK-FR<\/a><a href=\"https:\/\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Edward-Povey-cinematic-presentation-publique-UK-FR.pdf\" class=\"wp-block-file__button\" download aria-describedby=\"wp-block-file--media-066cecdd-88af-47d0-bbb7-cdfc60bb81f1\">T\u00e9l\u00e9charger<\/a><\/div>\n\n\n\n<div style=\"height:100px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<h3 class=\"wp-block-heading\">Edward Povey, an artist on the threshold \/ Un artiste du seuil<\/h3>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>(Texte en Anglais &#8211; Traduction Jacques Gu\u00e9rin)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>(Texte de Jean-Fran\u00e7ois Ferbos)<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Portrait cin\u00e9matographique par Peter Pahor<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>INCOMPLETE &amp; Portrait d\u2019Edward Povey<\/strong><\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\">Ces deux films nous donnent l\u2019occasion de voir Edward Povey en mouvement, de le voir parler, marcher, travailler, d\u2019observer ses mains, pr\u00e9cieux outil en action. Nous assistons \u00e0 une rencontre asynchrone, faute de ne pouvoir le rencontrer en chair et en os. Ce ne sont pourtant que des images et \u00e0 ce titre, elles ne peuvent \u00eatre signifiantes qu\u2019en s\u2019offrant \u00e0 l\u2019interpr\u00e9tation et sous le voile de la subjectivit\u00e9 du regardeur. Un certain ratage, une perte, demeurent donc in\u00e9vitables, mais c\u2019est en cela, comme il le dit si bien, \u00e0 sa fa\u00e7on, que cette vacuit\u00e9 laiss\u00e9e par l\u2019incompl\u00e9tude est le ressort m\u00eame de ce qui maintient la pulsion vitale en mouvement. C\u2019est ce manque-l\u00e0 qui qui maintient au seuil, en mouvement, \u00ab&nbsp;entre la naissance et la mort&nbsp;\u00bb, entre \u00ab&nbsp;verdaccio et blood&nbsp;\u00bb. Son approche artistique, en ce sens, r\u00e9sonne tr\u00e8s fort aupr\u00e8s de moi et me lie \u00e0 lui dans une sorte de connivence aux affinit\u00e9s \u00e9lectives.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pour revenir \u00e0 ces deux films, \u00e0 proprement parler, il y a une grande diff\u00e9rence entre le premier, sorte de teaser et le second.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Le premier, <strong><em>\u00ab&nbsp;INCOMPLET&nbsp;\u00bb<\/em><\/strong>, tr\u00e8s court, constitue vrai agencement artistique fabriqu\u00e9 par Peter Pahor. C\u2019est un bel objet et une belle interpr\u00e9tation qui de mon point de vue indique que Peter Pahor comprend parfaitement le travail d\u2019Edward Povey. Mais, ce film demeure son objet, un objet bien inspir\u00e9. On y trouve une rh\u00e9torique qui me semble essentielle dans le travail de Povey, celle du mouvement, produite par cette scansion au rythme effr\u00e9n\u00e9, qui sugg\u00e8re parfaitement des effets d\u2019apparition puis de disparition. Dans son art, il me semble, tout se joue dans un seuil t\u00e9nu situ\u00e9 entre deux p\u00f4les qui le construisent et en forment les bords. C\u2019est en ce lieu-l\u00e0 que se situe son art, saisissant paradoxalement un instant crucial et en mouvement, celui de l\u2019intensit\u00e9 \u00e9motionnelle. Cette t\u00e9nuit\u00e9 serait donc le motif \u00ab\u00a0en-soi\u00a0\u00bb de sa cr\u00e9ation. Quels sont ces p\u00f4les ? Je prends par exemple l\u2019expression <em>r\u00e9alisme \u00e9motionnel<\/em> dont il se d\u00e9finit et qui est un bel oxymore. La tension se joue entre les \u00ab \u00e9motions \u00bb, pr\u00e9cis\u00e9ment \u00ab la charge \u00e9motionnelle \u00bb, qu\u2019il place du c\u00f4t\u00e9 de l\u2019authenticit\u00e9 et le \u00ab r\u00e9alisme \u00bb, que nous pourrions appeler le mensonge. Povey a recours \u00e0 d\u2019autres p\u00f4les pour cr\u00e9er ce seuil :<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Intimit\u00e9 &#8211; \u00ab extimit\u00e9 \u00bb.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Public (le regardeur) &#8211; priv\u00e9.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dedans &#8211; dehors.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fantasmes (fant\u00f4mes) &#8211; mod\u00e8les.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Authenticit\u00e9 &#8211; apparences.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Repr\u00e9sentation &#8211; mensonges.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P\u00e8re &#8211; m\u00e8re.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">P\u00e8re &#8211; sublimation.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fini, achev\u00e9 &#8211; inachev\u00e9 (La trace de son dessin sur la toile forme une d\u00e9licate transition avec la couleur pleine de l\u2019illusion des volumes).&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">F\u00e9minin &#8211; masculin.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Verdaccio &#8211; blood .&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Noir et blanc \/ couleur (conf\u00e8re vid\u00e9o n\u00b02) etc.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Cet effet de seuil est le r\u00e9sultat de la repr\u00e9sentation par l\u2019image, je crois. J\u2019ai envie de citer Jean-Christophe Bailly :\u00a0<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>\u00ab&nbsp;En effet, l\u2019image est toujours d\u00e9j\u00e0 seconde, elle ne peut \u00eatre image que de quelque chose&nbsp;: ce qui, dans l\u2019image, entrelace le non-\u00eatre et l\u2019\u00eatre, c\u2019est cette simultan\u00e9it\u00e9 d\u2019une existence et d\u2019un renvoi \u00e0 l\u2019existence ou, comme on l\u2019a souvent dit (\u00e0 propos du portrait notamment), d\u2019une pr\u00e9sence et d\u2019une absence. Cette sortie est \u00e0 la fois un mouvement (l\u2019\u00eatre sort de lui-m\u00eame, quelque chose est sortie de l\u2019\u00eatre) et une stagnation (ce qui est sorti ne se pose qu\u2019en flottant, nous sommes devant quelque chose qui s\u2019\u00e9chappe mais qui, tout autant, se tient dans une fixit\u00e9)&nbsp;\u00bb<\/em>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ce premier film, dense et court est donc une sorte d\u2019\u0153uvre d\u2019art en soi. Mais en ce sens, il est empreint d\u2019une version, celle de son r\u00e9alisateur. Il me pla\u00eet beaucoup.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">N\u00e9anmoins, \u00e0 titre tr\u00e8s personnel, je pr\u00e9f\u00e8re encore plus le second film, <em>\u00ab <strong>Portrait d\u2019Edward Povey&nbsp;\u00bb<\/strong><\/em>, car sa temporalit\u00e9 et son rythme laissent le temps de le voir et de l\u2019\u00e9couter. Edward Povey y est au centre et Peter Pahor d\u00e9roule avec brio ses \u00ab images-mouvement \u00bb (je fais r\u00e9f\u00e9rence \u00e0 dessein \u00e0 Gilles Deleuze) avec l\u2019art subtil de s\u2019effacer de son ouvrage et dont le style \u0153uvre au profit du travail du peintre. Le parti pris de filmer de pr\u00e8s ou de loin, de se centrer sur ses mains ou sur son regard m\u2019a beaucoup plu, comme le choix de la couleur ou du noir et blanc. Peter Pahor met en place un fil conducteur qui indique qu\u2019il a parfaitement compris le processus cr\u00e9atif d\u2019Edward Povey et son travail entre discr\u00e8tement en discussion avec lui.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Plusieurs points m\u00e9ritent qu\u2019on en parle. J\u2019ai \u00e9t\u00e9 particuli\u00e8rement attentif au passage du noir et blanc \u00e0 la couleur et vice versa. Il produit ce que j\u2019appelle un \u00ab effet de seuil \u00bb. En effet, si son art n\u2019est en aucun cas une narration biographique, il tire sa source dans ce qu\u2019il appelle sa m\u00e9moire et que de mon c\u00f4t\u00e9 j\u2019appelle ses fantasmes (Ogni dipintore dipinge se). C\u2019est in\u00e9vitable et passionnant car c\u2019est en ce sens que la charge \u00e9motionnelle donn\u00e9e aux mat\u00e9riaux de ses \u0153uvres y puise son authenticit\u00e9. Sous le verni des apparences se trouve la force mouvante des \u00e9motions. Les s\u00e9quences en noir et blanc m\u2019ont donc beaucoup plu et int\u00e9ress\u00e9 car leur objet est celui de l\u2019intimit\u00e9 psychique et cr\u00e9atrice de Povey. Cette belle bo\u00eete en bois, qui contient des photos de famille, notamment de son p\u00e8re, pourrait \u00eatre une urne mortuaire, mais pour moi, elle rev\u00eat un sens diff\u00e9rent. Elle repr\u00e9sente le sil\u00e8ne incarn\u00e9 par Socrate dans le banquet. Ce sil\u00e8ne est une bo\u00eete contenant les agalmata, c\u2019est-\u00e0-dire des objets brillants, convoit\u00e9s et d\u00e9sirables. Alcibiade a compris que son d\u00e9sir pour Socrate n\u2019est pas charnel, mais qu\u2019il se situe plut\u00f4t du c\u00f4t\u00e9 du savoir que poss\u00e8de son ma\u00eetre. Ces agalmata sont des objets cause du d\u00e9sir et pour lui je dirais que les agalmata contenus par ce petit coffre sont cause de son d\u00e9sir de peintre. Ce p\u00e8re, terrible et traumatisant par certains c\u00f4t\u00e9s lui a aussi donn\u00e9 la ressource de sublimer dans l\u2019art, un art qui fait partie de son \u00eatre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">C\u2019est ici et gr\u00e2ce \u00e0 ce jeu de l\u2019alternance entre la couleur et le noir et blanc que se situe le fil conducteur, selon moi, de ce tr\u00e8s beau film. En lui se cachent quelques secrets \u00e9nigmatiques de son processus cr\u00e9atif. Je trouve que Peter Pahor est tr\u00e8s fin et subtil dans sa mani\u00e8re de mener sa cam\u00e9ra. Par ailleurs, il faut le dire, Edward Povey y est magnifique et attachant, admirable et g\u00e9n\u00e9reux, authentique. C\u2019est une part de son monde int\u00e9rieur qu\u2019il nous r\u00e9v\u00e8le.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u00c9videmment, c\u2019est \u00e9galement avec un immense plaisir que j\u2019ai pu voir et comprendre comment il travaille, quelle \u00e9nergie son art exige de lui et quelle obstination doit \u00eatre la sienne pour atteindre dans ses toiles ce que son monde int\u00e9rieur lui \u00e9voque, voire appelle d\u2019une fa\u00e7on imp\u00e9rieuse. Chez Povey, la lutte et le combat avec ses fant\u00f4mes n\u2019est jamais tr\u00e8s loin. Il ne fait pas de doute que cr\u00e9er est in\u00e9vitable pour lui, il en va de son \u00eatre.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">L\u2019un des derniers plans de l\u2019\u00e9pilogue, avec le piano et <strong><em>\u00ab&nbsp;NABOKOV\u2019S WINDOW&nbsp;\u00bb<\/em><\/strong> en toile de fond est magnifique, excellent ! J\u2019aurais peut-\u00eatre ajout\u00e9 un lent mouvement de focale pour d\u00e9placer d\u00e9licatement la nettet\u00e9 du piano vers cette magnifique toile, qui serait pass\u00e9e progressivement d\u2019un flou vaporeux \u00e0 une clart\u00e9 flamboyante.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Un dernier point me semble important, lorsque Edward Povey parle de ses mod\u00e8les essentiellement f\u00e9minins. Son souci d\u2019avoir recours aux femmes comme figures de r\u00e9f\u00e9rence, que ce soit pour repr\u00e9senter des femmes ou des hommes, ind\u00e9pendamment du lien qu\u2019il \u00e9tablit avec la remarque de son p\u00e8re sur ce que devrait \u00eatre un homme, que lui, son fils, ne serait pas, est pour moi essentiel. C\u2019est, selon moi, une mani\u00e8re d\u2019entretenir la t\u00e9nuit\u00e9 d\u2019un seuil \u00e9nigmatique entre le f\u00e9minin et le masculin et un r\u00e9el espace de cr\u00e9ation. Sa mani\u00e8re de faire, de ce c\u00f4t\u00e9-l\u00e0, est pour moi tr\u00e8s importante car je pense qu\u2019\u00eatre un homme c\u2019est d\u2019abord se reconna\u00eetre, pour part, femme au-del\u00e0 des repr\u00e9sentations et des st\u00e9r\u00e9otypies sociales.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jean-Fran\u00e7ois Ferbos<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PS : Je me suis demand\u00e9 si Peter Pahor \u00e9tait un amateur du cin\u00e9ma de Robert Bresson. Le premier film, le plus court, est aux antipodes de Bresson, mais le second film, dans sa temporalit\u00e9, avec cette mani\u00e8re de filmer une action, de fa\u00e7on lin\u00e9aire, dans ses moindres d\u00e9tails, m\u2019y a fait penser.<\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>ANGLAIS<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>EDWARD POVEY<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>An artist on the threshold<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Film portrait by Peter Pahor<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>INCOMPLETE &amp; Portrait of Edward Povey,<\/strong><\/p>\n\n\n\n<p class=\"has-drop-cap wp-block-paragraph\">These two films give us the opportunity to see Edward Povey in motion, to see him talking, walking, working, to observe his hands, a precious tool in action. However these are only images and as such, they can only be signifying by offering themselves to interpretation and under the veil of the viewer\u2019s subjectivity. A certain failure, a loss, therefore remain inevitable, but it is in this , as he says so well, in his way, that this emptiness left by incompletion is the very spring of what keeps the vital drive in motion. It is this lack that keeps it on the threshold, in motion, \u00ab&nbsp;between birth and death&nbsp;\u00bb, between \u00ab&nbsp;verdaccio and blood&nbsp;\u00bb. His artistic approach, in this sense, resonates very strongly with me and binds me to him in a kind of connivance of elective affinities.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To come back to these two films, strictly speaking, there is a big difference between the first one, a kind of teaser, and the second one .<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first very short one, \u00ab&nbsp;INCOMPLETE&nbsp;\u00bbis a real artistic arrangement made by Peter Pahor. It is a beautiful object and a beautiful interpretation which, from my point of view, indicates that Peter Pahor understands the work of Edward Povey perfectly. But this film remains his object, a well inspired object. There we find a rhetoric that seems to me to be essential in Povey\u2019s work, that of movement, produced by this scansion with its frantic rythm, which perfectly suggests effects of appearance and then disappearance. In his art, it seems to me, everything is played out on a tenuous threshold situated between two poles that construct it and shape its edges. It is in this place that his art is situated, paradoxically catching a crucial and moving moment, that of emotional intensity. This tenuousness would therefore be the \u201con its own right\u201d motive of his creation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">What are these two poles ? I take for example the expression emotional realism, which, he says, characterizes him and which is a fine oxymoron. The tension is between emotions, more precisely \u201cthe emotional charge\u201d which he places on the side of authenticity, and \u201crealism\u201d which we could call a lie. Povey uses other dual poles to create this threshold :<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-intimacy &#8211; \u201cextimacy\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-public (the viewers) -private<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-inside -outside<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-fantasies((ghosts)-models<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-authenticity-appearances<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-representation-lies<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-father-mother<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-father -sublimation<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-finished, completed-unfinished (the trace of his drawing on the canvas forms a delicate transition with the full colour of the illusion of volumes).<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-feminine-masculine<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-verdaccio \u2013 blood<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">-black and white\/colour (see video 2) etc.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I believe this threshold effect to be the result of representation through images. I feel like quoting Jean-Christophe Bailly :&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201c<em>Indeed, the image is always already second, it can only be an image of something : that thing, in the image, which intertwines the non-being and the being. It is the simultaneity of an existence and of the reference to the existence or, as it has often be said ( particularly about portraits) of a presence and an absence. This exit is at the same time a movement (the being goes out of itself, something went out of the being) and a stagnation (what went out is only settled by floating, we are in front of something which escapes but which, just as much, is held in a fixity\u201d.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The first film, dense and short, is therefore a kind of work of art in itself. But in this sense it is imbued with a version, that of its director. I like it very much.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Nevertheless, on a personal level, I prefer the second film, \u201cPortrait of Edward Povey\u201d, because its temporality and rythm allow time to see and listen to it. Edward Povey is at the centre of the film and Peter Pahor brilliantly unfolds its \u201cmovement-images\u201d (I am purposely referring to Gilles Deleuze) with the subtle art of stepping back from his work and whose style works in favour of the painter\u2019s work. I really liked the choice of filming from close up or from afar, of focusing on his hands or on his eyes, as well as the choice of colour or black and white. Peter Pahor sets up a leading thread that indicates that he has perfectly understood Edward Povey\u2019s creative process and his work discreetly enters into a discussion with him.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There are several points that deserve to be discussed. I was particularly attentive to the transition from black and white to colour and vice versa. It produces what I call a \u201cthreshold effect\u201d. Indeed ,if his art is in no way a biographical narrative, it draws its source from what he calls his memory and what I call his fantasies (Ogni dipintore dipinge se).This is unavoidable and fascinating because it is in this sense that the emotional charge given to the materials of his works draws its authenticity from them. Beneath the veneer of appearances lies the moving force of emotions. The black and white sequences therefore appealed to me because their subject matter is that of Povey\u2019s psychic and creative intimacy. The beautiful wooden box ,which contains family photos, notably of his father, could be a funeral urn, but for me it has a different meaning. It represents the silenus embodied by Socrates in the Symposium. This silenus is a box containing the agalmata, i.e. shiny, coveted and desirable objects. Alcibiades has realised that his desire for Socrates is not carnal, but rather lies in the knowledge that his master possesses. These algamata are objects that induce desire, and for him I would say that the algamata contained in the small chest are the cause of his desire as a painter. This father, terrible and traumatic in some ways, also gave him the resource to sublimate in art, an art that is part of his being.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Thanks to this play of alternating colour and black and white, it is here that I believe the main thread of this beautiful film lies. There lie some enigmatic secrets of his creative process. I think Peter Pahor is very astute and subtle in the way he handles his camera. Moreover, it must be said that Edward Povey is magnificent and endearing, admirable and generous, authentic. It is a part of his inner world that he reveals to us.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Of course it was also a great pleasure to see and understand how he works. What energy his art demands<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">from him and what stubbornness he must have in order to achieve in his paintings what his inner world evokes or even imperiously calls forth. With Povey, the struggle and the fight with his ghosts is never far away. There is no doubt that creating is unescapable for him, it is a matter of preserving his being.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One of the last shots of the epilogue, with the piano and \u00ab NABOKOV\u2019S WINDOW \u00bb in the background, is magnificent, excellent ! I might have added a slow focal length movement to gently shift the focus from the piano to this beautiful canvas, which would have gradually shifted from a wispy blur to a blazing clarity.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">One final point is important to me, when Edward Povey speaks of his mainly female models. His concern to use women as reference figures, whether to represent women or men, regardless of the link he makes to his father\u2019s remark about what a man should be, which he, his son, would not be, is for me essential. It is I think, a way of maintaining the tenuousness of an enigmatic threshold between the feminine and the masculine and a real space for creation. His way of doing this is important to me because I think that being a man is first of all recognising oneself ,in part, as a woman beyond social representations and stereotypes.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">PS : I wondered if Peter Pahor was a fan of Robert Bresson\u2019s cinema. The first film, the shortest, is the antithesis of Bresson, but the second film, with its temporality, this way of filming an action, in a linear way, in its tiniest details, reminded me of him.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jean-Fran\u00e7ois Ferbos<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Un film de Peter Pahor Edward Povey, an artist on the threshold \/ Un artiste du seuil (Texte en Anglais &#8211; Traduction<\/p>\n<p class=\"link-more\"><a class=\"myButt \" href=\"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1470\">Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":1471,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_crdt_document":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[28,17,31],"tags":[],"class_list":["post-1470","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-creations","category-des-artistes","category-edward-povey"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.57.09.png?fit=2312%2C1488&ssl=1","jetpack-related-posts":[{"id":2656,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=2656","url_meta":{"origin":1470,"position":0},"title":"Edward Povey","author":"Cravan","date":"5 novembre 2023","format":false,"excerpt":"Biographie EDWARD POVEY biography up to 2012 MOMA Wales 2012T\u00e9l\u00e9charger","rel":"","context":"Dans &quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2023\/11\/Capture-decran-2023-11-05-a-13.01.13.png?fit=841%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2023\/11\/Capture-decran-2023-11-05-a-13.01.13.png?fit=841%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2023\/11\/Capture-decran-2023-11-05-a-13.01.13.png?fit=841%2C1200&ssl=1&resize=525%2C300 1.5x, 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&quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/WIP-POVEY-HIMSELF.jpg?fit=800%2C1200&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1479,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1479","url_meta":{"origin":1470,"position":2},"title":"EDWARD POVEY\u2019S Mnemonic Creatures","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"Interview - Long version Entretien EDWARD POVEY ANGLAIS-FRANCAIST\u00e9l\u00e9charger","rel":"","context":"Dans &quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/273698185_834244874010601_3453605647722920298_n.jpg?resize=700%2C400&ssl=1 2x, 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&quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/03\/Edward-Povey-cropped.jpg?fit=1000%2C505&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/03\/Edward-Povey-cropped.jpg?fit=1000%2C505&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/03\/Edward-Povey-cropped.jpg?fit=1000%2C505&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/03\/Edward-Povey-cropped.jpg?fit=1000%2C505&ssl=1&resize=700%2C400 2x"},"classes":[]},{"id":1465,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1465","url_meta":{"origin":1470,"position":4},"title":"The CROOKED LUTE  thought-process of Edward Povey","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"For those who have wondered what goes into the making of Edward Povey\u2019s paintings, particularly the \u201cLodger Paintings\u201d, or has been curious about how they work, what follows will be insightful.","rel":"","context":"Dans &quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=350%2C200","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=350%2C200 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=525%2C300 1.5x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=700%2C400 2x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Capture-de%CC%81cran-2022-02-16-a%CC%80-15.40.43.png?fit=1123%2C1200&ssl=1&resize=1050%2C600 3x"},"classes":[]},{"id":1459,"url":"https:\/\/ferbos-jeanfrancois.legtux.org\/?p=1459","url_meta":{"origin":1470,"position":5},"title":"Edward Povey : Museum of Modern Art, wales","author":"Cravan","date":"15 f\u00e9vrier 2022","format":false,"excerpt":"I have always had an image in my mind,like a stone in my shoe.Edward Povey, 1993 Essays byPaul Islwyn Thomas \u2013 BBC Head of Arts and Culture 2000-2005Huw Roberts \u2013 former Head of BBC Wales 2002-2006Cefin Roberts \u2013 Artistic Director of the National Theatre of Wales 2003 \u2013 2010Professor Anthony\u2026","rel":"","context":"Dans &quot;Cr\u00e9ations&quot;","block_context":{"text":"Cr\u00e9ations","link":"https:\/\/ferbos-jeanfrancois.legtux.org\/?cat=28"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Povey-wales.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Povey-wales.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/ferbos-jeanfrancois.legtux.org\/wp-content\/uploads\/2022\/02\/Povey-wales.jpg?resize=525%2C300&ssl=1 1.5x"},"classes":[]}],"jetpack_likes_enabled":true,"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1470","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1470"}],"version-history":[{"count":4,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1470\/revisions"}],"predecessor-version":[{"id":1571,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/posts\/1470\/revisions\/1571"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=\/wp\/v2\/media\/1471"}],"wp:attachment":[{"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ferbos-jeanfrancois.legtux.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}