June 14 - Aug. 24: Points de vue et perspectives semi-aériennes - Montréal's 375th anniversary exhibitions @ MdeC Frontenac, curator Nathalie Bachand(Montréal, QC)
Interactive digital installation (2013-2015)
Friendly Floatees is an interactive digital installation built with virtual reality web technologies. The installation allows the visitor to navigate a succession of hundreds of skies, without horizon, clouds, nor stars. Skies where only the blue light remains. However, all around plastic bags are floating, frozen at different times of their interaction with the environment, capturing information about light, air, and gravity. These objects, which we reject as constituent elements of the landscape, underlie our perception of space.
Each bag acts as a hyperlink, allowing the visitor to transition from one sky to another. Space becomes abysmal, labyrinthine and inhospitable. Time and distances are suspended. However, throughout his drift, the visitor is transported from one continent to another, the digital structure effectively opening on three real places in America, Europe and on the Pacific.
Friendly Floatees was produced as part of residency programs at Oudeis (Le Vigan, France) and La Chambre blanche (Quebec City, Quebec, Canada).
This project was conducted with the financial support of the Conseil des arts et des lettres du Québec.
Oudeis’s "Géographies variables" residency was made possible by the support of la Région Languedoc-Roussillon, the Ministère des relations internationales du Québec, the Consulat de France au Québec and the city of Le Vigan.
For their generous contributions, I would also like to thank Olivier Lévesque, Cédric Arlen-Pouliot, Gaspard and Sandra Bébié-Valérian, Manuel Fadat, François Vallée, Charlotte Panaccio-Letendre, Amétys Lachance-Michaud, Samuel St-Aubin, Jean-Pierre Lavoie, Olivier Henley, Emmanuel Thivierge, Remi Ogundokun, Pierrette Dion, François Simard, Françoise Jean, Jennifer Bin, Yin Li, Mathieu Lacroix, Adam Kukulowicz, Ericson Labador Amahan, Reden Etchineque and the Hanjin Ottawa crew.
Video, 19 minutes (2015)
Our perceptions of time and space are intimately related to the earth, to the continent, to the constructions that dominate nature, to the windows that frame the landscape. Balanced between masses of water and air, before a stormy horizon, nothing plays by the same rules.
Filmed somewhere on the Bering Sea, Adam’s Home is a sequence shot which frames the office window of Adam, a merchant marine officer. From this point of view, with proportions that evoke cinematographic images, the sea spreads away, rolls and moves, and carries the vessel with its motion. The window of Adam’s Home brings out the subjectivity of our relationship with space and time, built around familiar variations which are usually rooted in the reassuring lines of the horizon and of architectures. However, for Adam and his colleagues this window offers, as do the windows of a home, a common experience that is almost banal.
Daylight.2014: instants 1-25
Sculptural archives (2015)
Daylight.2014: instants 1-25 revisits the vast installation Daylight.2014. Composed with elements of light, space and time, this multi-faceted project materialized successively in nine parts throughout the 365 days of 2014 in Laval (Quebec, Canada).
For this work, a series of 25 slides has been produced from the documentation of the ephemeral installation. Presented on a luminous pedestal built with repurposed material from the project, these moments engage the visitor in the construction of a geographic narrative taking shape in the suburbs. As with the nine-part installation from which it was spawned, Daylight 2014: instants 1-25 was conceived on a scale such that the different elements cannot be appreciated by an isolated viewing.
Produced with the support of the Maison des arts de Laval (Laval, Canada).
Installation series (2011-2016)
In each part of Daylight, white panels surmounted by fluorescent lights mimic the contours of windows, which are chosen for their orientation letting in an important amount of light. Imposing its uniform mechanical in multi-form changing landscapes, the project examines the variability of the environment.
Lit both day and night, the lights modulate the landscape exposed by the windows. A confrontation between the constancy of the neon and the movement of the natural light plays out, marking the passage of time in the landscape. The title of each part indicates the precise hour at which the rays of sun are perpendicular to the windows.
As the day advances, the dynamic of the space is transformed. During the hours of strong sunlight there is a palpable tension between the panel and the window. The visitor enters a phenomenological experience of light in which spatial bearings are lost. As night falls, seen from inside, the window begins to reflect the installation, erasing the landscape. From the outside, this artificial light simulating that of the sun illuminates that which the window would normally show.
Links to documentation of different Daylight installations:
As furtive as it is deliberate, the act of photography captures a moment arising along an axis developed between the camera and the subject. This project comprises ten images constructed around similar movements and interchangeable environments. The camera is squarely directed at the sun, which is set in a placid sky. At the moment of capture, a plastic bag floats into the axis established between the lens and the framed subject, thus redefining the dynamics of the entire image.
Even as it practically becomes the subject of the picture, the object cannot make us forget the environment it has settled into: an image twice as long as it is high representing typical elements of the landscape.
Despite their landscape quality, however, these photographs have no geographic or temporal markings; a characteristic highlighted by the titles given the images, alluding to places and times stretching across the globe and over the last dozen years or so. Yet, while these snippets of information may seem interchangeable, they remain plausible, generating countless possibilities.
Various medias (2011-2013)
Through representations of everyday electronic devices, Déséquilibres decomposes an image of the sky. Each of the four phases of the project is built at a distinct level of ambiguity in relation to the nature of landscape, colour, and light.
In the photograph Déséquilibre-L’aube (The Dawn) (2013), a TV screen presents an image that clearly represents a sky, though it is excerpted from an unspecified film.
Déséquilibre-La fin du jour (2011) is a large-scale photomontage in which a computer drifts through an intriguing expanse of blue. On approaching the work, visitors engage in a play of perception with what appears to be the sky.
In the sculpture Déséquilibre-Convections (2011), an image of the sky appears inside an object. Here, the very nature of the image is brought into question as it can easily be taken for a mere source of light.
In the installation Déséquilibre-L’aurore (2013), finally, a powerful blue light is emitted from a stereo system set up on the floor of the exhibition space. While Déséquilibre-La fin du jour and Déséquilibre-Convections foster a sense of ambiguity, Déséquilibre-L’aube (The Dawn) and Déséquilibre-L’aurore confront one another. The one presents an unequivocal image of the sky while in the other a blue beam retains practically no connection with the landscape.