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Une Semaine de Bonheur  
  "I tried to locate myself in the work - it's my hand in both chapters. In Provence I've been playing around with the ochre pigment from Rousillon indicating my position as the artist, the maker of the work. In Normandy I hold out berries to indicate my position as provider. These refer back to Josef Koudelka's historic image of his watch as the tanks roll into Prague - his was the event - mine is the non-event.
 
The look of the images can be quite confusing and ambiguous - there is supposed to be a deliberate withholding of resolution and closure. I'm aiming more at transience and instability and chaos. We don't know if the family will be happy because at any chancy and haphazard moment their position could shift from non-event to event, from the triviality of the holiday snap to the historic document of the news story.
 
I made this work in 2001 and it is quite interesting to look back on it and see that the the work also functions as a comment about the global and local - the G8 anti-globalisation demonstrations were taking place at the time. The newspapers are, of course, fading now. That's in the nature of it."

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