And at the end of the topic about my work on “Le Dépeupleur” series, I’d like to speak about an identity in its context.

An Identity as a symbolic procedure can not function outside of a particular narrative. Within the framework of my work, the identity is the specific relationship between the Figure and the narration that always arises as an effect of the Figure’s action on the stage.

The first narrative – the character of the heroes, gender etc.– can not be eliminated, it is always preserved. But there is the second one – that arises as a result of the Figure’s action. After all, the presence of the Figure in the visual field, one way or another, is the restoration of representation, the reconstruction of the narrative mode. But these two narratives are completely different and the first is just not “real” enough.

Thus, the conversation about an identity can be resumed at this second level, where an identity is recreated through means that are dissimilar with the actuality: the “fur figure”, for example, gives the impression of something very typical for the East European province, where I am living, but details is taken from a completely different context – a plush and a satin does not match with real clothes. The similarity is supported by the dissimilarity – it appears as an unexpected consequence of completely different relationships than those that it should reproduce. It produced rather by the power of sensation. A procedure of an identification does not imply a correspondence with the actuality, with which there is a break for the deeper resemblance.