Tout se met à flotter, ever ything begins to float. So says Antoine Roquentin, lost in reverie over the root of a chestnut tree. The main protagonist of Jean-Paul Sartre’s novel Nausea would soon realize that he himself was only one of the objects surrounding him and that he existed accessorily. His privileged, human point of view becomes insignificant. His personality dissolves in the infinite multitude of the impersonal, while existence with its disorder, absurdity and nakedness becomes alien.

The diptych represents the proliferation of a forest’s ground vegetation on colour negative photographs. In the absence of shadows, when looking at the negative image our perception of space ceases and “ever ything begins to float”. Our perception is overwhelmed by enforced interpretation. It keeps tr ying to attach meaning to forms. The inverted colours, hues and contrasts replacing the primeval setting of green background compel the mind to relearn. The represented place ceases to be a place and is taken over by the sight of the strange, alien, decentralized and non-hierarchic organisation of vegetative actors. The negative image disguises our habitual perceptive disorders and deficiencies, which results in the quality, eventuality and radical otherness of vegetative existence remaining hidden.