graveline
Canada
2020
Resulting from a reflection on photographic temporality and twinning, the project is anchored in the diversion of the principle of the photographic moment.
By photographing the original image over 300 times with slight variations, it acquires new temporalities; the image becomes more than the fixation of a moment that occurred several decades before. Furthermore, by recovering and digitally manipulating certain details and dates from multiple archive slides, new associations are created and are then printed on new blank slides.
These new image-objects are thus presented in the form of a grid, inviting to contemplation and the vertigo of comparison.
By photographing the original image over 300 times with slight variations, it acquires new temporalities; the image becomes more than the fixation of a moment that occurred several decades before. Furthermore, by recovering and digitally manipulating certain details and dates from multiple archive slides, new associations are created and are then printed on new blank slides.
These new image-objects are thus presented in the form of a grid, inviting to contemplation and the vertigo of comparison.
Canada
2019
Continuing research about the contribution of light in the process of revealing images, the project uses active lightboxes to backlit the chosen content. By working on the superposition of image and semi-translucent paper in relation to the lighting source, a mask effect is created that blurs visual cues. The device aims to exploit this same effect, by allowing any details specific to the image to emerge only when the light passes through the layers. Since the lighting zone is moving, it reveals new portions of the image while removing from the eye what was previously visible, thus drawing the eye to specific areas and creating apprehensions that determine the path of the gaze.
Involving the principles of the persistence of images, of what they leave us, the way in which they are revealed as well as the contribution of light to their state, which are all research motives for the artist's practice, the project explores the potential of evocation of the partial image, inviting us to practice a form of economy of attention.
Involving the principles of the persistence of images, of what they leave us, the way in which they are revealed as well as the contribution of light to their state, which are all research motives for the artist's practice, the project explores the potential of evocation of the partial image, inviting us to practice a form of economy of attention.
à voir
Canada
2019
Deconstructing family video archives. Individually extracting each image-fragment of a tiny time contained in these personal archives. Nesting these moments into each other, in transparency. Condensing everything that constitutes these distinct memories into a diffuse framework of existence. Grasping the essence of these images and reiterating a form of presence in and of the image. Eclipsing the representation. Leaving a space of projection for other subjectivities.
Showing everything there is to see.
Videogram ; 12 min 17 sec
Showing everything there is to see.
Videogram ; 12 min 17 sec
Canada
2018
Placing the image in a state of projection, the project À la lisière places the archive in the immaterial space of memory. Without tangible form, without object, the image remains in this space of transition, between its materiality and its subject.
Focusing on the concept of the latent image, on images left behind, the project highlights all those that are absent from the memory continuum, those that have been excluded from a personal visual culture.
In this case, the images presented are all from a personal family archive, each one being a negative whose presence is missing in the paper prints.
Through this gesture of revelation, it is a question of reintroducing these ghost images into the process of constructing personal memory and of instilling new meaning in them, while questioning through the objectivity of the archive and memory.
Focusing on the concept of the latent image, on images left behind, the project highlights all those that are absent from the memory continuum, those that have been excluded from a personal visual culture.
In this case, the images presented are all from a personal family archive, each one being a negative whose presence is missing in the paper prints.
Through this gesture of revelation, it is a question of reintroducing these ghost images into the process of constructing personal memory and of instilling new meaning in them, while questioning through the objectivity of the archive and memory.
Canada
2018
The project Aube is based on a photograph dating from 2004, found by chance while consulting family archives following the death of a grandmother. With a disconcerting simplicity, the image shows her childhood home, as it existed a few weeks before its complete demolition. The photographic diptych offers a tension, a confrontation with a distinct double. The original photograph thus put in relation to a restored version of the place, produced through digital manipulation, begins a subtle dialogue between the physical place and the idealized place.
Now more than an image, the photograph takes on the role of the last testimony of the existence of a place that has now disappeared and is anonymous, sublimating its subject, leaving its function of representation to become a space of projection as well as an object of attachment. The project is thus consolidated around notions from the anthropology of the territory as well as the conceptual structure of the house. It is a reflection on the affect attributable to the photographic image, on the principle of absolute reality of the archive image and its role in the construction of memory, in the declaration of a personal fiction.
Now more than an image, the photograph takes on the role of the last testimony of the existence of a place that has now disappeared and is anonymous, sublimating its subject, leaving its function of representation to become a space of projection as well as an object of attachment. The project is thus consolidated around notions from the anthropology of the territory as well as the conceptual structure of the house. It is a reflection on the affect attributable to the photographic image, on the principle of absolute reality of the archive image and its role in the construction of memory, in the declaration of a personal fiction.
Canada
2017 - 2019
The Passages series is a photographic body of work whose premise is to represent the sensible world without an intermediary to interpret the details. The images were therefore produced in an analog manner with a digital camera body from which the lens was removed.
By exposing the sensor directly to the elements, the technical decisions inherent in the shooting were removed to make way for these color ranges. Simple in approach, the process allowed a conceptual and formal exploration of the nature of the subjects, creating visual states beyond representations.
By exposing the sensor directly to the elements, the technical decisions inherent in the shooting were removed to make way for these color ranges. Simple in approach, the process allowed a conceptual and formal exploration of the nature of the subjects, creating visual states beyond representations.