In the series titled, “In the crack”, made up of 3D graphic images, I visually explore the distorted flesh through the prism of the virtual. My goal is to mathematize the flesh, to create from scratch without using photographic textures but only a tree of interconnected, procedural textures.
The result leads to mutations that are straight out of a David Cronenberg film: forms both inhuman and evocative fascinating in their beauty.
I begin (image 1) with a computer-image representation of what you might think are the female genitalia.
The series could be called “It’s not what you think”. Shown in a realistic, and some would say pornographic way, the genitals are shown to be anatomically incorrect. The flesh is only a surface, it is linked only by certain analogies to what it is supposed to represent. This means that it is only the association with the image that we have of the female genitalia, and the context of the image, that allows us to link them to this representation.
We then plunge (images 2 to 7) “into the crack”. As we go through the images, there are fewer and fewer similarities: the changes that we observe are sometimes so great that the organic function disappears, giving way to a shapeless mass. Flesh separated from its meaning and function thus becomes an unknown territory, a limitless area. A substance that can be moulded at will.
Virtual flesh become abstract.
Diorama (Italy), 2014
Carne. 2010. Curated by Anne-Marie Bologna-Jeannou and Sarah Fossat.
“Camgirl odalisque” aims to establish a connection between classical nude artworks and a more contemporary vision.
This is an homage to the famous show opener of Tracks (Arte channel).
The hallucination is in fact a set of memories, where the colors of a real nature mingle with the folds of a pop-up book nature.
…The result of this is a distraught vision of a destructured nature, an artefact formed with multiple shreds, that Arman would have designate as « archaeology of the future ». A puzzle for future generations, for the day nature will have disappeared.
The digital material in this film is a repository and only exists thanks to the creations of Len Lye; but also, as in a painting by Soulages, it forms, transforms and emits in its turn.
Thanks to the movement we distinguish a hollow character caught in a stylised snow storm. He walk and slowly exhausts himself…
Nostalgia For Nature is a full 3D computer graphics film.
These white lines on black reveals the raw beauty of 3D.
This installation is the litteral representation of the link (fight?) between the real and the virtual.
This full 3D computer graphics film draws from the events that struck Japan in March 2011, and more specifically, the way the events were covered in the media.
This series follows “Fiction 1” a work inspired by the events that took place in Japan, March 2011. We are in this series after the tsunami.
“A beautiful ode to E99500 hexadecimal color.”
The aim of the Artefact series is to highlight those ‘material accidents’ in 3D computer graphics, and by doing so, to showcase the way in which the artist takes a ‘trial and error’ approach.
Sometimes a bug in a video game can be magic. It gives the keys to a normally unexplored area, beyond, in the limbo of the game.
A 8 minutes hypnotic and optical travelling (sequence shot) into a computer graphics forest.
(Français) Mutation #1 est une sculpture issue d’un procédé de création et de fabrication numériques, obtenue par impression 3D.
“All my 3D objects are afflicted with a degenerative disease.
Gradually they disintegrate, face after face they lose their appearance, with a fatal outcome.”
By a strange mitosis phenomenon, the objects proliferate infinitely, at the expense of all that is natural and human.
Experiment with video compression.
A dogma of constraints, in a purified freedom, in order to broaden the emotional scope of the viewer.
Decomposition of the body/decomposition of the image.
Unable to exist anywhere else than in the hollow of the pages of a wrinkled book, they collapse after a long fall, until they lose themselves, and disappear in the plump and passive bounce of their papier-mâché flesh…
black car, video game, speed, video game, speed, video game…
In this series I use a face reduction algorithm. A percentage defines the strength of reduction. 0 %, no reduction. 100 %, total reduction. Each stage is created mathematically.
This series consists of four images, each depicting a woman held in an identical position with a reflective plane symbolizing water. The series plays on the inferences one naturally makes from images.
(Français) Une sculpture vient compléter l’image en représentant la partie manquante.
La somme de l’image et de la sculpture forme le paysage dans son entièreté.
Flesh separated from its meaning and function thus becomes an unknown territory, a limitless area. A substance that can be moulded at will.
Virtual flesh become abstract.
A mental trip in the mind of a hypnotized woman.
A day in Russia, for morning to the night. 454km (282 miles).
The real world that surrounds us doesn’t appear to provide an ideal background for dreams, but it only needs a different way of looking to become malleable and porous.
Shape, movement, transparency: a strange, organized dynamic is set up in which the bottles become a simple optical pretext, a bewitching kinetic motif.