[…] De Wolf photographs fossils, or more-or-less temporary constructions \u2014 […]. Just like the first scientists who seized upon photography, he brings the infinitely small closer to the infinitely large, the far away nearer to the very close, the eternal closer to the transitory. A face is also a landscape \u2014 or, more precisely, only has value as a face when alternated with a landscape. A concrete form (a piece of ochre stone, is it small or large?) seems to emerge from the void, which, however, is merely a mass of translucent snow. But the narrow windows of standardised, dehumanised architecture send the presences that inhabit it in a reverse trajectory towards the same void. Heim […] speaks to us […] of a quest, a secret, a mystery, blending together questions about endings and beginnings. It pushes us towards the hypothesis that perhaps our only home is the universe: for behind the idea of emptiness you will always find, in every language, in the depths of ourselves or somewhere in the image, the fear of the void. \u2014 Emmanuel d\u2019Autreppe, Translation: Chris Bourne<\/p>\n","protected":false},"excerpt":{"rendered":"