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Sébastien Reuzé – Indian Springs
'Three two one fire'
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
$14.81
Sébastien Reuzé – Indian Springs—
$14.81
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Sébastien Reuzé – Indian Springs
'Three two one fire'
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
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'Three two one fire'
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
Indian Springs, shot between 2012 and 2013, portrays the photographic fiction during a day in the life of a drone pilot.
'At night I cut across the sandy terrain. With two hands on the steering wheel, the car shoots towards the inter-state to Indian Springs, where I pilot military drones. Grainy pixels spread all over the screen. Day and dreams get blurred, and I ask myself again, as I’ve done for always, whether I’m living in a dream or in reality. (…) Coffee machine, everyday gestures, settling into a leather armchair: vertical joystick, multiple screens console. The game starts, virtual reality—the grid on the screens grows larger and I venture down into the midst of the colored points, headed towards the convulsing horizon in the distance. Soon enough, I’m surrounded only by gridlines, I’m entirely inside it. I feel good. Every day I experience the same surprise at the first contact with the imperceptible of virtual matter. From my fixed position I’m invisible, unassailable, I dominate in close-up a vast territory. (…)'
32 pages, 24 x 30.5 cm, softcover, Art Paper Editions (Ghent).
