"If not the same drawer, the drawing is to be blind."
This paradoxical issue, not to say provocative, was launched by the philosopher Jacques Derrida in the Nineties. It is not to treat directly the drawer and visual artist as a blind man, but to reflect on what could bring the drawer to interest to the sight, and this goes without saying, but also to the hands. By focusing on the eye and hand, then the gesture, the designer is already in the situation of specular reflection. He takes himself as a possible blind, someone walking with his hand, if you can say so, who works with the hand. This interest of the drawer for the look, leads to the question of the portrait, in which the artist is looking for to be surprised when he draws, paints, photographs himself or a possible model. The direction of the look, the position of the face, however, give us some clues that suggest the presence of the mirror. In the portrait, and even more in the 'self-portrait, the visual artist gives the viewer the place of the mirror.