Marche hypnotique

Artistic Description:

Hypnotique Marche de l’Homme captures a fleeting reflection of a solitary figure walking, perhaps unaware, through a mirror world of blurred lines, stark contrasts, and poetic uncertainty. The image, likely taken on wet pavement or a water surface, turns the viewer’s perspective upside down—literally and metaphorically.

The human silhouette emerges distorted, looming but undefined, merging with bare winter trees and an ambiguous urban skyline. This haunting visual is accompanied by a swirling poem, flowing like breath from the head of the subject—suggesting thoughts, memories, or subconscious echoes unraveling into space.

The poem speaks of illusion, denial, escape, and introspection—inviting a confrontation with one’s inner shadows. The words spiral outwards like whispers of existential reflection, amplifying the sense of dreamlike disconnection. The blurred lines between man and environment, real and reflection, self and projection, make this work an allegory of modern alienation and self-deception.

Influences:

• André Kertész & Reflection Photography: The use of reflection as a primary surface calls to mind the poetic street photography of Kertész, where puddles become portals and ordinary scenes take on symbolic weight.

• Surrealism & Symbolist Poetry: With its cryptic text and altered reality, the work aligns with the Surrealist tradition, particularly artists like Magritte or Paul Éluard, where the mind’s landscape bleeds into the physical world.

• French Existentialism: The poem suggests themes of denial, inner escape, and the deceptive nature of appearances—echoing the existential questioning found in the works of Sartre or Camus.

• Contemporary Urban Melancholy: Like the work of Michael Ackerman or Trent Parke, the photograph uses contrast, grain, and human solitude to explore the fragility of identity within modern life.

Interpretation:

The man walks, but does he advance? His path seems ghostly, his presence—uncertain. In this piece, Abisror.M doesn’t just photograph a moment, he captures a condition: the hypnotic march of a being caught between projection and perception, between movement and paralysis. The result is a work that invites introspection, not about the figure we see—but about the one we might be.