Résidistance DVDV/EDCEE # 19

portraits pluriels

Résidistance DVDV/EDCEE – Daniel Van De Velde/Expérience De Confinement En Extérieur

Épisode 19 : Portraits pluriels – le 22/04/2020  Remarque : images et textes ici ne sont pas dans une valeur de légende ou d’illustration. La correspondance entre les deux est émotionnelle. Il nous faut apprendre, en même temps que l’on parle de nos vies, à capter les émotions propres à l’univers sans les rendre nôtres.

   Quand le visage de Tiffany est de pierre, pierre fondue dans la superposition des temps, il absorbe et différencie celles et ceux qui lui font face. Tiffany est le prénom humain de Gounifnika la chamane envoutante (voir épisode 10) qui est réapparue dans le parc depuis peu. D’abord pierre, parterre, à même le sol. Vaguement anthropomorphique, la pierre m’interpelle. Je me penche, la regarde… Gounifnika me tend la main pour que je l’aide à se relever. Une fois debout, elle me regarde. Son regard me désoriente. Elle pose une main sur ma bouche : – Ne m’appelle surtout pas Gounifnika, appelle-moi Tiffany. »  – Oui. Je t’ai toujours appelé Tiffany. » – Bon ça va alors. »

   Mon propre visage, à force de confinement en extérieur, est de l’ordre de la face. Il est tellurique. Il est une convergence des visages de celles et ceux qui ont hanté le parc. Des expressions passent et repassent. Tiffany me regarde avec intensité. Elle analyse mon flot de visages et d’expressions, les envoie selon leur degré dans les pierres calcaire, granitiques et les silex qui essaiment le parc. Sans oublier les roches métamorphiques. Je deviens corps lent qui ordonne la simplicité paysagère du parc. Je deviens visage unifié et unité de paysage pour répondre au visage et à la présence de Tiffany.

   A travers mon visage, c’est la forêt que Tiffany voit. Mon visage radiographie la forêt. Un ensemble de forêts en interaction, en correspondance. Celles à proximité desquelles je vis. Celles dévastées, tuméfiées, devenues biomasse et celles d’ailleurs, refoulées, niées, détruites ou sublimées, ce qui revient au même. La forêt ne meurt pas, elle se résorbe pour s’en aller ailleurs. Elle est lasse de notre allure d’êtres désaccordés, déroutés, de nos postures de prostitués climatiques. L’homme meurt qui ne se cherche pas en chaque forêt dans sa lente et irréversible transhumance.

 Les arbres expriment à travers mon visage, les ondulations arborescentes de la terre conçue comme un organisme vivant. Mon visage est un pli ouvert où s’exprime la vie dans ce qu’elle a de simple, de régulateur.

 Tiffany reste dans le parc pour deux ou trois jour. Elle parle de changer d’air. Elle marche en forêt, s’imprègne de l’aspect trapu de certains arbres, de la logique d’implantation des pins sur les coteaux avoisinants. Elle éprouve une forme singulière d’extase devant la danse désordonnée des saules et des trembles le long des berges de l’Argens. Elle ne soupçonnait pas ce présent où chaque être vivant chemine comme une œuvre ouverte.

Elle caresse les roches, les pierres qui le lui rendent sous forme de soupirs extatiques. Elle divague, devient feuille de laurier, feuille de lierre. La beauté des teintes de l’Argens la sidèrent. Rien à voir avec le maquillage gris argenté de la surface des cours d’eau de son enfance. Le fleuve l’appelle. Elle s’offre, se baigne. Fait accord de vie avec l’eau.

Dans l’Argens sa peau devient juste milieu, profondeur adéquate. Elle y nage, encore et encore. Les plis de son corps, au contact du courant l’émerveillent. Elle regarde au seuil de la nuit, la venue des étoiles dans le ciel. Les arbres s’obscurcissent, échancrent sa silhouette. Elle remonte, à force de relâchement, de contemplation, le temps de l’intégralité de son corps. Ses courbes de femme s’estompent vers quelque chose de plus vaste, une ordalie planétaire. Elle s’abandonne aux ondes convergentes de l’univers qui prennent corps et esprit sur terre.

Elle passe la nuit, seule avec moi, dans la yourte. Elle absorbe, trois heures durant, mon corps qui, par la seule force de son désir, répond à la pluralité des sensations qu’elle a emmagasinées. Elle les relâche. A force de jouissance, on s’égare ensemble et séparément dans les ondes volage d’un monde en dispersion.

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