I lived for some time in the new house with almost empty rooms. I soon realised that a spectacle of light and shadows took place on the walls, as banal as it was extraordinary. Night and day, light either flooded the room or filtered subtly through the blinds. I began to observe it and to let myself be observed by it: deliberate, transient, ever changing. As I wondered about perception, I was gradually enthralled by these walls and the moments of contemplation became increasingly intense. Interwoven with the cosmic movement, the light dramatized its passage by daily integrating the register of slight variations with perfect precision. Hence, this was an eloquent expression of the Greek Kosmos: an essential order that permeates all surfaces, all dimensions, from the most minute to the vastest, from the physical to the immaterial. The camera, acting as a double of the room in reverse, reproduced the Kosmos and gave shape to a film on light, silence and stillness.
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