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Fernand Leger

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I myself have employed the close-up, which is the cinema’s only real invention. The fragment of the object has also been of use to me; by isolating it you personalise it. All this work has led me to regard the phenomenon of objectivity as a new and highly contemporary value in itself. (around 1927)
--
Autour de Ballet Méchanique, as quoted in Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, pp. 21-22

 
Fernand Leger

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..the personification of the close-up detail, the individualisation of the fragment, where the drama takes shape, moves and have it being. Film concurs with this aspect for life. The hand is a multiple, transformable object. Before I saw it in a film, I did not know what a hand was! The object in itself is capable of becoming an absolute, moving, tragic thing.

 
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The one thing we do not know is the limit of the knowable. We prefer to trust to chance and to believe what is not true, rather than to own that not one of us can see what really is. A fragment of some vast whole whose bounds are beyond our gaze, a fragment abandoned by its Creator to our foolish quarrels, we are vain enough to want to determine the nature of that whole and our own relations with regard to it.

 
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