🧾 DETAILS
Artist: Agathe Pitié
Year: 2013
Medium: Ink and watercolor on paper
Dimensions: 58 × 339 cm
Category: Contemporary Art
Room: Room 4 — Image, Memory & Identity (Section: Reconstructed Worlds)
Country: France
Provenance: Galerie Metropolis
🧠 DESCRIPTION
This large-scale triptych unfolds across three panoramic compositions, each structured within circular formats. The scenes are densely populated with figures, landscapes, and symbolic elements drawn from historical, mythological, and contemporary contexts.
Executed in fine ink with watercolor, the work combines precise linework with vibrant color. The circular framing isolates each scene while maintaining continuity across the triptych, creating a visual rhythm between separation and connection.
🔍 SIGNIFICANCE
- Expands narrative from single image to multi-panel system
- Integrates historical, political, and mythological references
- Uses circular composition to suggest cycles, vision, and totality
- Demonstrates narrative as simultaneous rather than linear
- Marks a shift toward global and interconnected storytelling structures
✍️ INTERPRETATION
In this work, narrative is no longer centralized.
It is distributed across multiple fields.
Each circular panel functions as a world:
- self-contained,
- yet connected to the others.
The viewer is no longer guided through a story.
They must construct their own path between images.
The circular format is essential:
👉 it removes hierarchy
👉 it suggests cycles rather than progression
👉 it evokes vision rather than narration
The title—Les yeux de la mer—introduces another layer:
The image is not only something we see.
👉 it is something that sees back
The world becomes a field of perspectives:
- human,
- mythological,
- historical,
- symbolic.
There is no single viewpoint.
Only a multiplicity of gazes.
The image becomes:
👉 not a narrative
👉 but a system of visions
🧩 POSITION IN THE COLLECTION
This work occupies a transitional position within the collection, where the image fragments and reconstructs experience.
They function as bridges, articulating a shift from representation to perception.
Within the collection, they are distinguished by their exploration of instability, layering, and visual reconstruction.
They do not depict reality—they process it.
📚 PROVENANCE
Galerie Metropolis