Apres Meg, D’

“Grenier’s “D’Apres Meg”, departs from the routine of structuralist cinema. Through the repetition and fragmentation of physical gesture, wild sound and snatches of conversation, Grenier elicits narrative possibilities from otherwise disparate elements. Repetition is, after all a form of insistence. In “D’Apres Meg” small hand gestures are microscopically observed in their everyday context, a garden conversation, a construction site, a gallery setting. By taking our common peripheral vision of events seriously, Grenier produces an evocative enigma. From these images and bits of conversations, which are equally mundane, a new kind of disinterested seeing can be engaged. One that does not deflect meaning as invite it through repetition.” – Raphael Bendahan, Vanguard, 1985