Tribute to Sharon Lockhart

Parallels Screens

A fixed image, on the one hand: photography (that she initially learnt in a technical school dedicated to this medium); a moving image, on the other: film (whose singular potential powers she discovered later on in an art school with the works by Warhol, Hollis Frampton, etc.). The gestures and forms of work, on the one hand; the enigmatic and graceful stubbornness of youth, on the other. This is how one could think of di erentiating two movements in Sharon Lockhart’s work, this is how one could think of emphasizing the division between two seemingly opposite poles. And it is true she has patiently devised, with the obvious concern of being very discreet (almost a whisper, or rather a babbling), a work devoted to revealing powers ordinarily thought to be of a negligible amount. Without ever, that is a crucial point, erecting these very powers as a counter-model, without these small parties, these fragile festivals of accidents, ever being explained. Stripping the patterns of her contemplation of everything that could constrain them, identify them, look like a commentary, a vision from above: such seems to be her mission. A rescue mission, as Walter Benjamin called it, but ultimately with no other shelter than these fixed and moving frames, deprived of certainty. (JPR.)