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Michelle Normoyle, Pierre Fournier
From November 24th 1990 to December 23rd 1990
Inter'di

My work deal with the sabotage/subversion of the technological age by employing a crude technique that renders a high image into a low tech one. By using the camera or the photocopier to record a preexisting picture made by another person, the authority and authorship of that image is questioned. It becomes a trace of an image that is moving from order to disorder, from progress or the modern world view to an entropic one.

The anonymous faces of people in television, film and the print media often go unnoticed, abandoned in favor of the more alluring "star". The unknown is left to contemplate, to engage in more personal, less public pursuits. In Media Solemnis, Key Actions, Faithful Portraits and the Repo series the anonymous media subject is captured in a private experience—from the sexually charged religious ecstasy of Media Solemnis to the intent pre-event concentration of the skaters in Figure.

The immediately recognizable visage of the celebrity allows us to experience immediate gratification. The narrative formula of most films gives us a safe release after two hours of time; the special effects serve to create the most effect for the least effort. The act of reading subverts this process. In the Repo series and Faithful Portraits text becomes a formal element and begin to support the image, even dominate it at times.
- Michelle Normoyle, 1989
- Artist declaration (Optica)

Go to publications catalogue.

- Gravel, Claire, «L'apocalypse et après», Le Devoir, samedi 22 septembre 1990, p. C-12.
- Gravel, Claire, «Anti-technologie contre haute technologie», Le Devoir, mardi 18 décembre 1990,p. B-3.