In 2009, Benjamin Efrati started studying movement and micro-movement in drawing, photography and video. The idea of recording a set of motor events in a synthetic composition borders on abstraction. To make a motography, you need a sensor (pencil, photographic sensor) and a support (paper, film, digital file). The difference is the range of motion: tiny for the manipulation of a pencil, gigantic in the movement of a camera through an urban landscape. In one case, it is the pencil which moves on the sheet depositing graphite. In the second, it is the sensor which moves in space in search of light.
happen in time. For a given period, rather than trying to represent an object with the help of tools intended for this purpose, the point is rather to focus on the muscular micro-movements that could have occurred during capture. Uncontrolled movements usually produce a cloudy feel in photographs. Motographies
, can be made on photosensitive film, on paper or as a a digital file, yet uncontrolled motion of the sensor yields the same graphic patterns on all supports.
Film exposure is generally more than 5 minutes, with a diaphragm set to the minimum aperture. The movements are carried out by importing the device at arm’s length, over the shoulder, without favoring a light source or a particular movement. The motography
which obtains this price of sight is a whole of information collected and assembled in superimposition. In the case of old 6 * 6 format cameras, the possibility of gradually rolling up the film allows you to get out of the square or rectangular format, resulting in long panoramas, which gave their name to a series of digital shots: the Long Ensembles .
In terms of design, motographies
have been developed in several aspects. First of all in a synthetic way, with a silver point on glossy paper in A4 format. Subsequently, the project was developed on a fax roll. The Dharamsala scroll. This composition at the 20m long lead mine was made at the same time as Cigoret,
In 2011, for Le Pompon, the exhibition organized as part of the DNAP at the Beaux-Arts in Paris, a set of motographies were engraved using a gouge on beech panels. These panels were assembled in the form of a cabin in which one person at a time could contemplate the original prints of the photographic motographies.