Caught in a trap of interminable narrative ellipse and subject to impressions and tensions, the viewer loses his bearings and finds himself literally captured in the opaque intrigue of Lapsus Exposure by James Coleman (b. 1941, Ballaghadereen, Irland). While we are conditioned to seeing meaning emerge from the synchronicity between setting, sound, image and editing, this does not seem to take place here. Each element, whether narrative, visual or linguistic, introduces an additional semantic charge and reinforces the “wheels within wheels” possibilities of the discourse. It is as if the art of James Coleman were a negotiation between the projection and the viewer. Coleman’s approach presents a fragmented world for us to reconstruct by disturbing perception, upsetting the mechanisms of language and putting cracks in a system in which vision is founded on the conventions of representation.