1983
Patrick Bokanowski
Connected by the recurring image of floating, disarticulated staircases, Patrick Bokanowski's equally transfixing, mysterious, and impenetrable magnum opus, L'Ange may be characterized as a synesthetic composition - a series of aesthetically distinctive, self-encapsulated chamber pieces, each revealing quotidian, if fantastic, acts of obsessive compulsion and moribund ritual. Converging towards the hybrid animation of his early short films, La Femme qui se poudre and Déjeuner du matin, Bokanowski's curious, often gothic figurations reveal an abstract logic of thematic suites that similarly reveal his penchant for juxtaposing optical experimentation with traditional fine arts, where rended objects (a doll used as a fencing target in L'Homme au sabre), accidental ruptures (a pitcher falls from the dinner table in L'Homme sans mains), and bursts of activity (a bather splashes animatedly in L'Homme au bain, and a group of identical librarians research, file, and reorganize a sprawling library in Les Bibliothécaires) reflect an overarching, universal law of entropy that, paradoxically, enables creation from the very act of friction, disorder, kinesis, and destruction.
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