THE TIDE

Immersive video installation
Duration: 3m26sec
Size: 5760 X 1080 pixels
2016

Director: Vincent Masson
Music: Mode-F (The english concert, Simon Standage,Trevor Pinnock_ Vivaldi, Les quatre saisons, l’Hiver_1982)
Production: Holymage

« Paradox. As the character goes through, no matter the video game, the landscape is continuously created. We press the buttons - front, back, left, right - and yet the avatar always remains in the center of the image. It is the landscape alone, which recedes and advances. The avatar seems to be on the spot. Finally, I do not believe that we can speak of “ on the spot ”, since the place changes.
It makes “ on the spots ”. And it is by remaining “ on the spot ”, that it moves in different worlds, connected by bridges and coexist within the same game. »

The Tide is an imagier.
It lists the overviews of a single landscape, with its different scales, its different gravites, its different sense of reading.
It is a matter of confronting contemplation with these diversities.
The notion of the unique landscape no longer exists: it can only be a plural entity in constant change.
Our contemplation can no longer attach itself to an object and the overflow of information dispels our bearings.

The landscape is no longer made of an image, it is a film being projected for wich we no longer have time to observe .
It is already gone, It has already changed.
Things, as they have been named, have already disappeared.

In these temporal vertigo, we can only, as a spectator, be subjected to this instability.
We cannot create a solid look, a constructed and clear thinking. It is like a delay imposed on us that we can only repeat.
We can never be in sync, at the right time, in the right place.
There are too many moments and too many places, there is no longer the « right ».

The various scales are quoted simultaneously, evoked by some objects, allegories of the infinitely large - monumental architectures, celestial sceneries, mountainous landscapes, ...- and the infinitely small-microscopic anatomy, ... -.
We then question the link of the symbol to the format: is a star always a star if it seems to fit in the palm of our hand?
Unless it is our hand that is so great that it can contain a star, and in this case, is it a real hand?

As if to help us, the omnipresence of undefined objects nevertheless preserves the abstraction of the scales, to prevent the viewer to be stuck in pre-established spaces. We are free to give them any dimension, if there are any dimensions.
The absence of these boundaries in turn, questions the conception of space: is it possible to conceive a space, physical or mental, if it has no limits?

Instability spreads, we can only relay an uncertain statement. We will only transmit an unstable message to our peers, who in turn will find themselves lost in this space where everything is too early, too late, too big, too small.

Exhibitions:

"LES BAINS NUMERIQUES_ 10eme BIENNALE INTERNATIONALE D'ARTS NUMERIQUES",
Compétition Human Future, Enghien-les-Bains, France (2018).

"FILE_ELECTRONIC LANGUAGE INTERNATIONAL FESTIVAL", SESI Gallery of Art,
Sao Paulo, Brazil (2018).

"SIGGRAPH ASIA 2017_Computer animation festival ", Bangkok, Thailand (2017).

"ATHENS DIGITAL ART FESTIVAL_POSTFUTURE", Athens, Greece (2017).

"MUSEUM OF CONTEMPORY ART / Animation Goes MSU", projection on the Contempory Art museum of Zagreb, Croatia (2017).

"SURFACES 2.0", UCF art galery, Orlando, USA (2017).

"L'HIVER CHAUD", Le Wonder, St Ouen, France (2016).

Festivals:

"BACKUP FESTIVAL", Weimar, Germany (2017).

"FESTIVAL DU CINEMA EUROPEEN", Lille, France (2018).

"LOCOMOCION / Experimental Animation Festival", Mexico City, Mexico (2018).

"MELBOURNE INTERNATIONAL ANIMATION FESTIVAL", Melbourne, Australia (2018).

"AUSTRALIAN INTERNATIONAL ANIMATION FESTIVAL", Wagga Wagga, Australia (2018).

"S.T. ANIMATION FESTIVAL", Media fasade, Sibenic, Croatia (2017).

“O.W.A.F", The Alternative Gallery, Allentown, USA (2017).

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