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Blur has its sharp edges, it cuts through the photographic material, as sometimes shadows. Because if the fog envelope the object, the figure, the skyline, it awakens an imprint of those beyond our usual, makes him an unexpected clarity. The last set of Stéphane Vandenplas, Caravelles des jours ordinaires, 2014, is as a photographic diary from a liminal exploration areas, where by an optical illusion, the daily reveals his sleeping face, its lining, its opposite. It is not a question, it seems, to surprise a visual event, but rather to focus to see - photographically - what he's done in his disturbing banality.This is to be surprised by the variety of materials, consistencies transformed by light (or lack thereof) in new figural possibilities. The shades of gray, deep black, velvety, dense white or transparent, dotted or sweeping brushstrokes draw volumes, hollows, slow rhythms alternating with lightnings. Basically, these caravels, say ordinary days rather evoke nocturnal trips in the most technical sense of the term, that of the latent image that arises in a flash, a strange yet familiar to us, a figural about to dissolve to bring out the Behind the visible, an illuminated time an oversight slot. Metaphorical density Vandenplas approach is supported by formal choices bringing foreground fringes visible: the frontal offset angles or disarming, framing that destabilize the image acting as a cut in the real, the change in time exposure. From a series to another, Stéphane Vandenplas, flâneur large areas and abandoned corners, pursues a work of great finesse and precision to capture the visible from the inside of the image. Anca Cristofovici author of Touching surfaces. Photographic Aesthetics, Temporality, Aging.