Victor Boullet’s title refers to the Greek god Kronos, a deity known for its doublesidedness, a concept closely connected to his project The Institute of Social Hypocrisy. The publication Kronos is a means to carry his work forward into a newer form of expression, whilst maintaining a constant sense of dichotomy.

The act of art production becomes a performance. The photographs serve as a documentation of performances made in the artist’s private domain; his apartment in Paris, a holiday home on the Scottish coast. Spaces that are so personal as to allow the work to become an existential exploration.

The works themselves, invariably, seem to hold no meaning with a rawness and naivety that could be perceived as covertly provocative. When asked to discuss the content and concept of this publication, Boullet declined, saying it was all too personal and to make of it what we will.

Boullet uses text as a means for miscommunication and confusion where personal musings are incomprehensible and impenetrable. Where elements of commercial branding are integrated into painting, performance and text works, Boullet considers the pretense and affectation brought about by wearing brands, thus creating a product of himself.

Questions are raised as to whether the works are entirely serious or whether there is an element of fun being poked at the notion of what it is to be an artist. The imagery is presented as an imperfect document not to be taken at face value. The very question of truth underpins Kronos.