Unglee became known at the end of the 1970s for his experimental films, then in the 1980s for his photographs of tulips.
Unglee became known at the end of the 1970s for his experimental films, then in the 1980s for his photographs of tulips. His « Disparitions », fictional obituaries, were published in Art Press, Art Présence or Technikart. Unglee became known at the end of the 1970s for his experimental films, and in the 1980s for his photographs of tulips. Alongside his exhibitions, he contributed to art magazines such as Art Press, Art Présence or Technikart, in which he published his Disparitions, fictional obituaries from daily newspapers recounting his life and his lifelong passion for tulips. These works, which lie at the confluence of language and the visual arts, convey an ironic spirit and a sharp elegance, even as they stage his ever-repeated disappearance. “In 1991 my work with tulips became more abstract. It was very interesting because I managed to make a piece out of almost nothing, a flower, three pieces of stem, and it became a kind of ideograms, hieroglyphs or a secret alphabet, something that resembled nothing and that I called « Eludiennes », a word that means nothing. I no longer remember exactly how I found this name, how I made it up. I forgot to write it down, or rather I only partly noted it. I think I remember that it was composed from the adjective “ludique” (playful), because arranging the flower and the stems was for me like a game, and from the verb “éluder” (to elude), because the meaning of these forms escapes our understanding.”