.Photo Camille.Modèle Estelle.Retouche Estelle.
Il y a 2 mois
lundi 16 novembre 2009
samedi 14 novembre 2009
vendredi 13 novembre 2009
.Expérience.
.une main visible ou invisible? coup de crayon ou illusion? je tente de retracer (à) la main décomposée. une histoire d'insectes l'a inspiré. c'est invraisemblable. une mainvertébrée. la peau entoure le vide, elle est le bandage de chair, tissu musculaire qui lui permet d'exister, sans cela, elle n'est personne, ni en chair ni en os.
.List. (les mesures de temps ne sont pas respectées, vidéo pas adaptée pour le web. ^^ Sorry)
.My work is an animation made with Flash by Adobe. I converted it to .mov. There is white text on black background.
I wanted to work on the memory, and the theme of the list was predisposed to contribute to my research.
I listed some firstnames on my notebook. Some people I know, some people I knew. Only in my family: grandparents, their children, their spouses, their own children etc...
At first, it was a dyptique. I wanted to oppose dates to names. death dates. And then I wander if I could use dates in other work because I don't want add more pathos. For me this meaning help to take aware of the things around us, living things, weekly things. In the video there is less people dead than living people, that's important.
"THE LIVING PEOPLE AND THE OTHERS":
I think the spectator watch a simple list of name in rythm. Some names lasts with long time and others scrolls at high speed. But "the OTHERS" stay. Because others are alive so they are active, in movement. It's like all the people on the world, who swarms, we can't all feel them because they are many. It was my way the show a numerical importance of people living around us.
But the spectator can react differently. He is unpredictable. Sensible. He can also be put in place of "The OTHERS". As it's not nominative, anyone can feel concerned. In fact, at the end of the video, I add "...". This implies that the list is not exhaustive. That creates an oppressive and emotional atmosphere.
Tracy Emin inspired me, with her piece " EVERYONE I HAVE EVER SLEPT WITH 1963-1995" because she talk of her life, her inner life with detachment of the emotion. But even if the artist, and the art like mine, shows a detachment, it includ in the piece the feelings of his spectator. Douglas Gordon lists names too. He write names of people he know since he was child in a corridor.
I listed some firstnames on my notebook. Some people I know, some people I knew. Only in my family: grandparents, their children, their spouses, their own children etc...
At first, it was a dyptique. I wanted to oppose dates to names. death dates. And then I wander if I could use dates in other work because I don't want add more pathos. For me this meaning help to take aware of the things around us, living things, weekly things. In the video there is less people dead than living people, that's important.
"THE LIVING PEOPLE AND THE OTHERS":
I think the spectator watch a simple list of name in rythm. Some names lasts with long time and others scrolls at high speed. But "the OTHERS" stay. Because others are alive so they are active, in movement. It's like all the people on the world, who swarms, we can't all feel them because they are many. It was my way the show a numerical importance of people living around us.
But the spectator can react differently. He is unpredictable. Sensible. He can also be put in place of "The OTHERS". As it's not nominative, anyone can feel concerned. In fact, at the end of the video, I add "...". This implies that the list is not exhaustive. That creates an oppressive and emotional atmosphere.
Tracy Emin inspired me, with her piece " EVERYONE I HAVE EVER SLEPT WITH 1963-1995" because she talk of her life, her inner life with detachment of the emotion. But even if the artist, and the art like mine, shows a detachment, it includ in the piece the feelings of his spectator. Douglas Gordon lists names too. He write names of people he know since he was child in a corridor.
I realized that working with words, working on memory, could be reflected to the spectator as a Memorial at my expense.
.
mardi 3 novembre 2009
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