Videograms is a series of numbered sequences, with the numbers appearing haphazardly before each sequence. This film is structured like a collection of Haïku poems. The electronic surface is used as a transformation surface. The visible element, here a network of electronic fibres modelled by a Rutt-Etra synthesizer, intermittently represents the inner part of thought and the sensitive outside. An absolutely well-thought out frenzy, captured in its innermost recesses, unfolds, like the awareness of movements and the interlocking of enlightenment, into things and into thought, thought in space, space in houses, men in the street, sound in a room, etc.

The descriptive text adheres so closely to a transversal and sinuous movement of awareness that major discontinuity hacks away at it from inside whilst it continues to advance further and further still into the unknown, into the infinite, into what goes beyond the oblivion needed at every step. Literal meanings gradually hunt one another down to appear, each one, as if it were unique and irreducible.

Gary Hill seems to have us penetrate between exterior action and interior reaction, between mental action and the physical reaction that it triggers; we discover a strange world where the vocabulary is invented as time ticks by; the expressions are extraordinary and have sometimes been called "word-images"; images from outside invaginated into the inside, if you like. Black and white, the viscosity of the visual revelations beside the spoken word let us imagine that, in the depths of this utter disorder, there is a consistency in the absence of a relationship between the sensitive element and the intelligible. It is the extreme attention of thought, its continued drawing force, which stretches the immaterial element so incisively. The experience is both scriptural and sculptural (the sculpture of mental and electronic frequencies).

Paul-Emmanuel Odin