Three Transitions, 1973
Two cameras are set up opposite each other, in front of a curtain of paper that separates them. The artist's body traverses this wall, tearing apart his own image and reappearing on the other side of the mirror, in the image from the camera placed opposite him. To leave oneself and travel towards the other, to leave traces on a surface, to make the volume apparent, and ironically, to experiment ironically with video as its own electronic mirror.

Set of Coincidence, 1974
Here, Peter Campus draws on the feeling and idea of death in order to concentrate on both the quality of his performances and their content: the obsession with duality and an impossible fusion, the artist's theatrical and immobile pose, a perpetual to-and-fro between the offset and the overlap of the filmed body. The work ends in a dark tunnel where three figures representing the artist, three shapes that are first full then empty, advance and try to join together, floating weightlessly in a decor fading towards darkness, to absolute black.

RGB, 1974
Peter Campus works with images and light in real time, using a small screen placed next to him. Facing us, he places coloured filters – R.G.B. or Red Green Blue, the colours of video – against the surface of the screen, thereby playing on tiny variations, with transparency and opacity, creating a luminous space in real time. Finally, turning a mirror towards the viewers, he creates his own form of prerecorded portrait. R.G.B. is a raw piece of art, free of any insinuation, a highly simplified treatment of our intimate relationship with the image, the trap of Narcissus.

Stéphanie Moisdon
Translated by Jo Garden