Imaginary journeys

From 1968 the “forms in freedom” become indicators of a radical change in Martial Raysse’s trajectory, not only signaling the arrival of ‘hygiene of vision’, but also his liberation from an official, worldly and overly institutionalised art world. The Côte d’Azure landscapes, certain neon installations (4 pas dans les nuages, 1966; Proposition to Escape: Heart Garden, 1966) and the film Homero Presto (1967), conceived as ‘an odyssey in eight minutes or an exhibition of my mental confusion’, already featured the theme of evasion, or imaginary escape. In 1972, the film Le Grand Départ marks Raysse’s break from the art world and heralds his desire to explore new horizons of the hippy sensorial experience, which has elements of a big, collective party. In 1979 the series La Petite Maison brings to Périgord the fantasy of Xavier de Maistre’s Viaggio intorno alla mia camera (1795), a subjective and intimate extension that he dresses in cosmic dimensions.