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Frederick Tristan Writer and Graphic Artist

My first words as a teacher warned my students that iconology is not the study of images but of invisible signs nestling in the secrecy of images. Poetry is only ever expressed in the interval between words. Elsewhere (and so close), science uses figures and perspectives, those distances, to adjust reason and meanings to sidereal giddiness.

Frederick Tristan

My black inks on white try to surprise the trace of invisible vibrations and structures in the dimension of

the visible. Asceticism and epiphany of the sketch. The sleepwalking line discovers an abstract, humble and

sensitive form, both writing and bridge between interior and stellar spaces. The being’s cavern lives in the great depths. Of the psyche as well as in universal abysses. Testimony of the eye at its tip: this side of or beyond the eye are here. There is no intellectual and sensory frontier between a body and the spatial and temporal stretch, between the interior and exterior of the living. The enigma of thought offers the veracity of an imprint added to the mystery of the All. Science and art come

together in this paradox.

The ink is a dream traced by the hand.

I love drawing’s spontaneity. The brush lets me express other climates, other sensations, but I am a writer even when I am painting.

Representing something means confiscating, destroying it. That is why

my drawings are abstract or oneiric.

The Ink is a dream traced by the hand, sometimes independent of any intelligence but in its innocence, so complex, that it makes the secret of being.

My black inks on white try to surprise the trace of invisible vibrations and structures

in the dimension of the visible. Asceticism and epiphany of the sketch.

The sleepwalking line discovers an abstract, humble and sensitive form, both writing and bridge between interior and stellar spaces.

The being’s cavern lives in the great depths. Of the psyche as well as in universal abysses. Testimony of the eye at its tip: this side of or beyond

the eye are here.

To try to flush out the really illegible, the best language is skewed, a telling trompe-l’oeil, on which all hardy arrows break before reaching their target. Hence: the invisible is naturally more accurate than the visible as it ignores omnipotent appearance.

The enigma of thought offers the veracity of an imprint added to the mystery of the All. Science and art come together in this paradox.

Elisabeth Alimi Photographe

Univers et MystèreL’univers invisible de l’artiste réside dans l’énigme hallucinante et incessante qui imprègne son œuvre. Latent et indicible, il est de l’ordre du sensible comme de l’intemporel. L’oeil curieux de l’observateur le traverse à son tour avec sa propre histoire pour lui donner une nouvelle figure d’expression jusqu’à l’infini des visions. Voici huit œuvres qui mélangent des images dans d’invisibles univers, les six en noir et blanc expérimentent pour la première fois la main de l’écrivain lié à l’œil du photographe, ces derniers ont vu le jour grâce à l’idée qui a germé de façon fulgurante dans l’esprit de Frederick Tristan en visualisant, une fraction d’une de ses encres au dos de mon boitier numérique.

Elisabeth Alimi Photographe

Son imaginaire prodigieux n’a fait qu’un tour et voici qu’il me propose au détour d’une prise de vues classique,

d’assembler les pièces d’un puzzle original composé de débris de mes photographies et de fragments de ses

compositions. Cette invitation qui m’a fort honorée m’est apparue comme une évidence, une variation prémonitoire,

propice au mystère de sa métamorphose : la rencontre insolite d’une échappée scripturale et d’une errance photographique en un même lieu, dont les points de

ralliement se seraient reconnus au-delà de leurs auteurs et au-delà, de leur destin initial. C’est ainsi que je puis expliciter

ces sortes de mutations créatives à la croisée des regards pour réinventer des univers à l’infini appelés métissages.