Roy Stuart constructs labryniths.The Glimpse films are complex intricate structures, laden with traps, leading to an “inland empire” at the center of which lies an enigma; images containing secret passages, like a lost door, and it is for the viewer to find the path that connects language and image. The password is not provided. Glimpse 12 plunges the viewer into a universe of games, serious games like life and death games that evoke the relationship between the sexes and the passion often deviating into madness… Between men and women, it has not always been that peaceful. It’s a long saga of power struggles, power play, alienation …where assault, rape and humiliation were always at hand. What are the rules ? How can the sexes manage to get along?
The Glimpse films play with our expectations and prejudices. Voices whisper behind the images, the walls are haunted by the desire and the images are dazzling… And they like to show that violence is not always male violence directed at the passive female – because the woman takes an active part in the war of the sexes. Her formost weapon is the power of denial inflicted on male desire. And that very denial is destined to be a source of excitement … The game in question is similar to war.
The rules are an art form, the weapon, a stare or a glance. A game of epheremal excitement. An appearance, a disappearance A body in full light. Enjoyment … The Glimpse films are the only ones to reveal in real time the unhuried mystical rapture of female pleasure. The game in question is not that of luck. Not even the Russian roulette of unprotected sex. In order to stage these couplings without condoms, there is work to be done. Against taboos. Against the fears. Against prejudice. Against the lies foisted on an entire generation. But it’s not about the thrill of transgression or the bunjee jumping of sex without latex. It is not even the game of winning or losing. Win or lose what exactly ?