A concept is a mental entity; it has no form, no matter. Whether philosophical, psychological or mathematical, it consists of an indirectly accessible intellectual construction. It’s a statement. They are ideas transmitted by language and processed individually. Each receiver then acts on the concept to produce a construction that enables comprehension or the approach of comprehension.

In geometric mathematics, the concept is usually a sentence that can be directly echoed. It can produce an immediate imaged impulse and bring an object to life almost automatically. This is the case when the concept describes an object adapted to our reality and its dimensions. The resulting mental construction is natural.

In the case of an “impossible” object statement, involving rules beyond our sensitive reach, our possession of the concept is limited to the sentence. There are as many constructions as there are people who grasp the concept. As the mental construction is the basis of projection around the concept, each individual elaborates it differently and deepens it in a different way.

These processes are protean and unique to each individual. The question that surrounds them is a creative research, a production field that is still being explored.

x, ⁣y, z and t are not enough: artistic production is an imprint. All objects reduce as soon as they interact. An element collapses into a state as soon as it is perceived. In the human perceptual field, it collapses until it fits into x, y, z and t. Through the filter of the tool, the concept becomes a representation. It becomes intelligible and autonomous. The tool deploys a field of possibilities in a dimensional reality of its own.

The production of a representation induces denaturation inherent to the tool. The losses and fidelity of the representation depend on the tool’s space. In this case, the concept is transposed and ported to this reality. The acceptability of the representation depends on the choice of replacement forms. Since representation cannot be perfect, the choice of losses and substitutions constitutes an aesthetic and sensitive gesture. The representation becomes a phase of the concept object, a state.

Access to the concept passes from reception by the senses to perception. A concept that has become perceptible is in a state of survival. Compromises of representation are brutal cuts in its nature. A concept that undergoes the successive filtering of representations crystallizes, frozen into a state, a residual object, an imprint.