
Degeneration. Soldat. 2007-2008. Six 3D images in 56.4 cm x 120 cm format.

Degeneration. Skull. 2007-2008. Six 3D images in 56.4 cm x 120 cm format.

Degeneration. Woman. 2007-2008. Six 3D images in 56.4 cm x 120 cm format.
“All my 3D objects are afflicted with a degenerative disease.
Gripped by terror, they understand what fate awaits them.
Gradually they disintegrate, face after face they lose their appearance, with a fatal outcome.
In this way the 3D objects die.”
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.
Usually the “virtual” is in opposition to the “real”, in any case to the organic, it is enduring and doesn’t undergo any changes. I was interested in applying to the virtual, in an imitative way, irreversible mutations.
There is also a play on perceptions; to see how the viewer distinguishes and puts the images back together, giving meaning to abstraction. Helped by previous images, the mind can recreate the original object from the few remaining polygons.
They talked about it:
The Fox Is Black
Kanye West
Nerdcore
Acidolatte
Reference Art Gallery
Design and creation of a 3D printed award.
Nostalgia For Nature is a full 3D computer graphics film.
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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.
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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.
