It is the artist who express himself, those who Jerôme Sans calls the “real’s hacker” and whose legal framework can only be the copyright.
When Hubert Robert painted landscapes, at the end of the 18th century (just before the fall of the Old Regime and the revolutionary uprising), as every painter of this epoch, he set the stage, provided the backgrounds, mentioned here an architecture, a vestige.
Usually a ruin – forecasting the fall of a society. Then he inserted characters: a young woman walking her dog, a group of friends chatting, life, love, laughers becoming (as we will say today) part of a contextualized set.
When Denis Robert prepares his canvas, at the beginning of the 19th century (a politically and economically tumultuous epoch), like his namesake, he prepares his backgrounds, his collages, sets the scene and the palette… In short, he contextualizes. Survey documents, interview notes, accounting papers from major banks…
In the vestiges of an economic system, Denis Robert introduces life: everyday life stories, coffee talks, a woman walking her dog, goes to bring the bread. The intimate participates to the work.
When the ability to speak is removed from the individual, when it seems there no longer a place for the resistance and that political action is the field of defeated, it remains the material of life, the possibility to reintegrate the personal mythologies in the political determinism, to raise the author of an anonymous hypertext. To write the human in the poetry of ruins.