My artistic research can be inscribed in a structural kind of experimentation. Influenced by questions that were very relevant to the traditional media of art, particularly painting, I undertake a modernist approach, in which the digital medium affirms itself and its materiality. I deal with the specificities of digital video and highlight its imprecision, its inability of recording reality without approximations. The basic structures through which it reduces the world and its errors when, through algorithms, it is asked to interpret reality, all become a creative constraint.
Mixed with a romantic impulse toward landscape, both an aesthetic and ethic necessity imposed on me: the need for a “medium specific” practice, in which both medium and content influence the final form of the artwork. The consideration that filmmaking – and by extension videomaking – is a time-based form of art, pushed me to think about Time.
A camera is made in such a way as to sample time in very short intervals and let us believe that there is not any interruption between frames. As human beings used to think
about Time as a mono-directional flow, we may be induced to believe that images on a video flow continuously. Yet, as scientific theories challenges the classic conception – suggesting a vision of Time very similar to the “timeline” of a video-editing software, where every single video frame exist simultaneously, before we press “play” button – I started exploring the matter that was hiding between frames, by manipulating video files’ own duration.
I forced the digital device to recreate those images that the camera – in its urge for making reality discrete – had previously ignored. The emptiness of those interstices are filled up with new images, which remind us the original ones, but also the way digital images are made.
Dealing with landscape allows me to remember how Time is subjective and mysterious, and that for a better understanding we cannot flee the confrontation with those natural elements that experience changes at a different temporal scales.
An old fashion TV screen starts flickering with colourful abstraction. As a manifestation of the analogue medium itself, noise is let free to express some possible variations.
The noisy dance is then fixed on the digital medium. Algorithms destructure the images revealing new shapes, which were hidden in the empty spaces between one frame and the other. Digital noise arises.
Two kinds of noise – which are traditionally ignored, by will or by physical/mechanical inability to perceive them and are now isolated and free from any kind of subject matter - dialectically interact in order to generate a multitude of visual possibilities.
11-2015 / 05-2017
Départ. Séparation. Passage.
The Alps flow from the train’s window, just before it transforms into screen. The images's speed challenges sight’s capacity as well as the recording technique. One tries to stop movement, to see what happens in the midst of these empty spaces, between one video frame and the other, where the world has been ignored by the camera, obliged to catch only 25 images per second. The apparent continuity of reality is called into question by the discrete nature of cinematographic appropriation. Then landscape becomes increasingly vague and unrecognizable, it tends to abstraction.
Nature is reinterpreted by the machine.
02-2015 / 02-2016
Un rapprochement illusoire nous empêche de gagner davantage de connaissance sur le réel enregistré. Nous plongeons alors dans la matière dont la vidéo est faite, en rajoutant au processus d’enregistrement, l’interprétation de la machine sur les changements de forme dans le temps.
Premier essay d'écran télé refilmé. Les composants de la vidéo analogique, sont réinterpretés à travers la nature propre au medium numérique.
Hommage à la trichromie. Renversement systématique des paramètres principales d'une vidéo: couleur et ordre temporel.
Le mécanisme de représentation du paysage touche ici la frontière de l'abstraction. La dilatation temporelle met en avant les images nouvelles qui existent potentiellement, dans les trous discrets entre un photogramme et l'autre.
02-2015 / 10-2015
Un voyage dans lequel les pixels, les formes et les couleurs obéissent à un ordre quantique, statistiquement aléatoire, révélant un paysage presque aliène.
Ombres et lumières se battent à fin de créer des probabilités visuelles.
Les pixels qui composent formes et lignes deviennent la matière physique, dans la quelle la fumée et le sable volcanique se déplacent. Le cadre du tableau, attiré par des forces liées aus mouvements de la nature, semble vouloir rentrer dans l’image et en faire partie, sous forme de voiles de pixels.
La terre devenant feu. Le feu devenant terre. La nature cyclique de la matière.
Memento of an eruption seen from far, closely felt.
Temporal power vs Time power. The view of a Christian cathedral is disfigured by the recording medium, which becomes in this way a creative gesture of destruction and reconstruction.04-2014
The fight beetween shapes and colours. A celebration of digital video's noise.05-2013
Visual exploration of Paris Historical Axis. The flattening of the perspective affirms the flatness of the video image, while trying to contradict itself through the continuous zooming of the eye towards the centre.08-2012
The prolonged and repeated observation of a landscape is an experience that risks extinction under the weight of modern life’s frenzy, till being reduced to a touristy cliché. This iconic urban landscape becomes the scenario for stereotyped gestures and fragments of lives. Time and space melt together. The act of watching is presented in its nudity.
08-2011 / 07-2012
Portrait of a friend
Sky at dusk is the field in which the narration occurs and the main character itself. Its digital transformations depend on the sky itself, its natural darkening, the clouds moving on it, recorded by the camera and translates in more or less approximated numerical values.
02-2012 (music 2014)
The way pictures are organised in sequence and their details quality, depends on the length and the “quality” of my experience in the park while shooting the park and the bench.01-2012
On the upper side, the frames follow one after the other. On the down side they slide horizontally, simulating the real movement that generated the sequence. Many vertical elements at different position and distance from the camera, make the sliding continuously interrupted, complicating the act of perception.