The Divine Comedy, The Castle, Ulysses, Under The Volcano are works said to operate like crystal balls meant to capture the world... The mental screens shaped in that quality of white dear to André Jolivet, are of the same nature. All is said, contained, reflected in there, in the purest respect of the platonic ideal. Once the frame has been defined and whatever its size is, the project remains unchanged. An uncommon adventure about the capture of light. In its immaculate and vibrating whiteness, like a mental television set constantly switched on, the screen very well attends to display the presence and the fury of presupposed or real worlds. In the works of André Jolivet, the white screen has aspects of marble cliffs approaching each-other. But instead of the vile wreckers deceptive lights, the eye receives a flood of images carried by this palimpsest screen. Rather than proposing strictly realist visions, the screen works in quotations, symbols, tattoos and traces. Humming with references, a hive works its evocative magic in frames and clear embeddings like so many new programs. It might be the æsthetic rendering of a fine or any other document. With Kafka as with Jolivet the bureaucracy and its paraphernalia points to the universal law of composition. The approach is to mangle, claw, cover the form to scramble destiny's computer. Only at this cost, does the hijacking of the form come to its true dimension. A way to refuse the establishment and its artificial lifestyles. What is suitable for André Jolivet is also what's unsuitable. Here, the palimpsest effect is brought through a rigorous artistic approach. It's an eternal self-referencing, a titanic fight for the quality of the whites. A matter of perpetual rewriting, like a big wheel that turns reflecting our small stories with the vigour of an epic.