This performance transfigurationwas born of failure, of those known to all creators. June 1999 is an empty month during which nothing goes out of my hands. There is a need for an idea: enter my painting and test her from the inside and make her life. On my head which has become a base, I will shape other entities. Unconsciously, I am also the confusing idea of the Trojan horse: take a place in the citadelle and map the smallest recins. With the camera as a witness, I start my immersion: I cover with clay, remove my face and make a first head on it; I open two eyes, a mouth, I wait. I am going to live with her. Then I start again by thickening as in painting, I hesitate, hesitate and burst me ever deeper. I have lost all marks and I am no longer just a face looking for its true nature. Some time later, wishing to grasp the slippage between my face and the series of masks that have been produced, I watch the film. I realise that the exercise opened up many other avenues for me. A fantasmagorie of masks appears, masks often dreamed in my painting and never reached. But perhaps the most fascinating aspect is to highlight the very process of creating and decreating masks. Like a painting whose only final image is seen, even though, ‘behind’, there has been a huge, visually exciting war. How did such astonishing masks, although made in blind form and with only touch on it, emerge? Would the intrication between the work and the artist, pushed to his peroxysm, facilitate the conversion of imaginary representations into clay masks into a kind of flow and reflux? Unlike all masks, the clay mask is mobile, changing, fluctuating according to the painter’s wishes. (Although here, between wedding and puppet, it is no longer clear who is involved). Something is looking for someone, without either being really defined. The unnamed is there, which is betrayed. Ten minutes below the earth make you enter a strange incorporation process: obscurity, silence, loneliness and feeling of a head who obscurously seeks its true face. We need to explore, digest like a fou dog, go down to the deepest. Blind work allows the expression of the power of chance, freed from the carcan of mimesis. In transfiguration, the performer masks but, as in any mascarade, blind is essentially used as a tool for revealing his true nature. In this performance, the painted sculptor, by drawing and sculpting on his body, has also become a dancer. Covering her body of earth, once again becoming humid and moving clay, has brought me to the exploitation of a new art of the mu mask by forces that constantly question me. Olivier de Sagazan is a French painter artist, sculptor and performer. It performed more than 100 in the United States, China, India and Europe. His existential transfiguration performance attracted the attention of many artists with whom he worked. Olivier de Sagazan, performer sculptor http://olivierdesagazan.com/ nefdesfous@free.fr