The Musée National de la Photographie de Québec is the only museum, along with the San Damon Museum, to hold all eleven of San Damon's works from the entity S.O.I (Sophisme Oniroscopiste Introspectif), which have been the subject of two documentary films in which eight intellectuals and academics analyse them. It is a conceptual entity starting from the four Oniroscospitic seasons, those that we still recognise, to gradually reach abstraction:
1.) Spring whose ochre, blue and magenta tones through trees on a black background transpose the season to its oniroscopic universe.
2.) Summer, whose red mixes with purple, blue and magenta, the oniroscopic magenta, a marriage between red and blue magenta. But the great director, here again as in the previous one, is black.
3.) The birth of autumn where ochres, yellow-ochres, green-jades, bluish mauves and reddish magentas twirl around. A long path of colours, interspersed with luminous and changing whites, crosses the work head-on.
4.) Winter, raw and final, arrives and in its background a black and ochre light. All the vegetation is naked of all its protective attributes. The colours that are applied are bluish, purplish, and white spots of light embellish this cold that seems warm.
5.) Hesitation is the fifth element, a sort of child born of four parents, where the shades of colour are even more infinite.
6.) The missing link floats in absolute uncertainty, everything is mauve, everything is magenta, a few bluish, blackish branches seem to be a barrier.
7.) Disturbance, certainly seen as madness. The pungent green elements explode.
8.) The imbalance, suddenly a brutal wall, like bars of freedom, presents warm tones. Black is in the distance, a lighter carpet appears in various places.
9.) Abstraction, bringing confusion before the viewer, it seems calm but hieroglyphs and pictograms appear.
10.) Introspection, a time of rest, of slumber before apprehending a cascade of black jets caught in magenta, ochre and broken white.
11.) The sophistry, a deep black with a passivity of colour on its right. We have before us, infinity.
The Belgian Museum of Literature is in possession of six works by San Damon. Three on the theme of Brussels, three on the theme of New York. Here is what Marc Quaghebeur, the Museum's Director, wrote in 2014 when he acquired them.
"A photographer with a swaying gait and a lightning eye, San Damon makes us rediscover the urban world through a game of tilting spaces and metamorphosis of colours.
In this way, he allows time to enter his images while giving the impression of speed.
The generic term "Oniroscopisms" suits his work perfectly.
He uses overexposure as well as blurring and an incandescent palette.
Two triptychs, one dedicated to Brussels and the other to New York, have just been added to the collections of the Archives & Museum of Literature.
Manhattan is next to the gardens of the Petit Sablon, just as the static onlookers at the fountain in Central Park are next to the zooming cars of a famous Brussels boulevard."
The characters take on a bronze aspect, the vegetation is dreamlike, the objects take on an unexpected symbolism. We feel as if we are floating in another dimension, three, four, eight, we don't know anymore, a euphoria joins the confusion.
The silver process used by San Damon allows for depths of field and extraordinary enlargements, as well as baths that the artist, according to his inspiration, overexposes or underexposes. This crucifixion is called "When Jesus became the Christ".
It is there, it is our time, and the artist does not skimp on the powerful allegory.
The work represents Jesus surrounded by transposed vegetation, like a sort of Garden of Eden, the expression of the face and the look of Christ are determined but gentle at the same time. You want to follow him, you understand forgiveness and what Catholicism is built on.
It is one of the rare Crucifixions to be represented horizontally, presented here in situ, which gives it a phenomenal impact, an incredible spirituality and an almost intimate proximity, as well as for its staging, which owes everything to the treatment that the artist has given it.