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Eric Vernhes\u2019 artistic practice is based on the creation of \u00ab temporal objects \u00bb. This concept, derived from phenomenology, qualifies devices endowed with an intrinsic movement that espouses that of the spectator\u2019s consciousness. Eric Vernhes uses it in his work to create a magical moment: the moment when the spectator\u2019s imagination, set in motion by the work, comes to be embodied in it.
Our body, our emotions, our ideas are constantly in motion. Confronted\u00a0 <\/span>with the movement of the work, a relationship of sympathy is created with it by synchronicity. This relationship with an object makes us aware of our materiality: Before anything else, and in the absence of demonstration of the existence of the soul, the spectator is a body, at a precise moment, in a given place, immersed in the contemplation of his own imagination that he projects in the work. A parenthesis then opens in the incessant movement that propels him towards his finitude. There is here an intrinsically, specifically human experience: the artistic experience.
Art often proposes questions. The work of Eric Vernhes proposes rather an ambition: <\/span>to conquer an ever higher level of awareness of ourselves, our bodies, the world and time in order to perpetuate, despite all the challenges, the experience of our humanity.<\/span><\/p>\n