God’s left eye is a graphic and poetic journey in altitude, a cartographic exploration of “invisible” worlds. It’s also and above all a geopolitical, sociological, historical and geological study. For some time maps have been integral parts of his works and beyond their role of documents have themselves become works. Four main ways have been used for choosing these pictures: roads crossing deserts, airports terminals, towns and military sites. They have in common to be forms of no place as Marc Augé described them, interchangeable spaces where the human being remains anonymous. Men neither live nor appropriate these spaces. With them they rather have a relation of temporary consumption.
God’s left eye reveals Michel Mazzoni’s passion for literature and cinema. For texts often punctuating his photographic works, in the first place. Again, it is the case with this book which carries on with writers’ and philosophers’ quotations he links together with subjects he treats of, in order to give his pictures a new echo. Then cinema. In the works he made on the field, the picture fading was already noticeable, a sort of dematerialization by deliberate overexposure. The will to reach a “degree zero” picture, a minimal abstraction form. The light that dissolves and shades off shapes, which brings him closer to the writing of a painter. Here the content meets the form or vice versa, the picture itself is about to disappear.
A fragment from a text written by Frédéric Collier, titled God’s Left Eye