Articles (all languages)

Biography - CV

Into the Hollow of Darkness
<< ...

Français

Beyond-Round. Lentir, sentir, sondre. Illustrations, April - Jully 2008.
.... Interaction 2003 - 2008
.... Video documentations, 2008, 2009
... Residency-exhibition, September 2009
.... ZKM exhibition, August-September 2011
.... Chaplin exhibition, Mai-June 2012
.... Exhibition at RuArts Gallery, June-July 2015
.... Cube retrospective exhibition, Issy-les-Moulineaux, January-July 2018
.... Exhibition at the Old Church, Maisons-Laffitte, January 2020

Colorful evolution of the form in the 'home' simulation (face and side), Jully-August 2008
Colorful evolution of the image in the panoramic screen, ZKM, April 2008
Images of the interaction, panoramic screen, April 08
Panorama from the outside

Colorful evolution of the form in the 'home' simulation, Jully 2008

The form has its own intern activity (intern movement, color), but reacts to the behaviour of the sensor. The viewer can't directly manipulate the form, he can only try to influence it, in accepting a kind of "movement dialogue" or a "phenomenal relationship". The interaction is ego-centered, evolutive and mainly deceptive (if you wish to know the whole concept, contact me. This documentation site is not supposed to be exhaustive).

The dark split in the image zone is the simulation of transitions of transparency (softedge) from one screen to another in the real panorama with the 4 projectors. It disappears in the final installation, according to the projection calibration.
The simulation panoramic screen is to be thought bented as a cylinder arround the viewer.
Images colors partly depend on your screen settings and don't represent well color nuances of the real situation.

Face interaction :

The sensor (red stroke) goes here from the left to the right. Due to the sensor movement, color fades, 'whitens', then reappears. Colored effects vary according to the own parameters of the form and according to the target angle, the rotation speed and the stillness length of the viewer.

Interaction aside, fast phase :

Instants are superimposed to spare documentation space (timetable : from the center to the right then from left). The form goes from the right edge to the left edge of the panorama because the space is circulare (cylindrical screen). The fading of the red strokes symbolises time of movement.
The form contrasts are accentuated to make it more visible. In the real situation and in the side speed phase, the form is only a gleam (cf. last state on the left).

- First series of red strokes : the sensor is moving fast in darkness. The form is invisible.
- Second series of red strokes (2nd fading) : the sensor (according to its position and speed) makes the form appear on the right side (1/4 of a circle, peripheral vision area). Then the form moves in the same direction faster than he does. It desappears quickly.

Beyond the kinesthesic pleasure (one's own body in movement), the image triggers perception pleasure too : the eye's corner tickles.

Back to the top

Colorful evolution of the image in the panoramic screen, ZKM, April 2008

The double colorful surface, and its black slit/split, delicious, come from inexact calibration (position setting) of the projectors, and their fading, from transparencies (softedge) between projections. On a technical level, the two images should become one, and the dark split should not be visible. The little orange shapes are lighted objects in the real space of the screen.
NB : In darkness, photographs are not faithful to colors.

Back to the top

Images of the interaction, panoramic screen, ZKM, April 2008

For the viewer to be visible, we needed to have a temporary light during the video shots, and to retreat the image afterall. The final experience takes place in darkness, without the viewer's shadow nore other light but the one of the image and the ones of the video projectors - The cylindrical screen is thus almost unvisible.