Trained and working in literary studies, i began to analyze visual artifacts such as paintings sometime in the late 1980s. My interest in visual aspects has grown out of the realization that subjectivity is formed by a perpetual adjustment of images passing before the subject, who, as focalizer, makes them into a whole that is comprehensible because it is continuous. Having a certain continuity in one's thought depends, at a level more subliminal than conscious, on having a certain continuity in one's images.
But continuity is not the same thing as coherence. This distinction is another source of interest that informs work on visual narrativity. In such historically and sociologically varied texts and images as modern novels, the ancient and incomplete fragments that make up the Hebrew bible, and Rembrandt's paintings, I constantly came up against that which eludes the coherence of these artifacts. My attention was systematically arrested by the detail that seems out of place, the contradiction that tears open the work, the monstrous element that reveals flaws and disparities and, because it provokes astonishment, offers never-ending possibilities for the understanding of these works. Such experiences led me to consider those dimensions of literature that classical narratology has tended to think marginal and that pictorial narratology, unbounded by the presumption of linearity, would promote to the forefront or, at least, deploy as heuristic instruments with which to grasp structure outside linear plots.