Diffusion
2009, Lignes de fuite, Galerie des arts visuels, Laval University, Quebec City, curator: Lisanne Nadeau
2010, Art Souterrain,(underground art) Complexe Guy-Favreau, Montreal
Summary
This video installation created as a duo with artist Patrice Coulombe, was achieved using footage showing a cargo ship entering a floodgate. The artwork depicts a metaphorical space, born of the meeting of temporality and space, two principles related to the artists’ practices, respectively related to sound and image.
The work in the venue
A close up of the hull of a cargo ship entering a floodgate is projected in a loop on a wall of the gallery. On the left of this image, the same clip is broadcast with a delay of a few seconds. This offset shows, in a travelling shot, a huge ship, that seems to be leaving one projection frame to enter the other, while the noise of the engines increases and overlaps the sound of the water hitting the hull. This process directs the viewer’s perception, who’s thus brought to feel the image’s hedges ─ the frame ─ and to experience the representation of time.
The recording of an audiovisual score suggests henceforth the possibility of a reversible temporality. The implacable constraint of the frame is also underscored by this duplication particularly perceptible at the point where the limits are crossed by the ship in motion.
Diffusion
2009, Lignes de fuite, Galerie des arts visuels, Laval University, Quebec City, curator: Lisanne Nadeau
2010, Art Souterrain,(underground art) Complexe Guy-Favreau, Montreal
Summary
This video installation created as a duo with artist Patrice Coulombe, was achieved using footage showing a cargo ship entering a floodgate. The artwork depicts a metaphorical space, born of the meeting of temporality and space, two principles related to the artists’ practices, respectively related to sound and image.
The work in the venue
A close up of the hull of a cargo ship entering a floodgate is projected in a loop on a wall of the gallery. On the left of this image, the same clip is broadcast with a delay of a few seconds. This offset shows, in a travelling shot, a huge ship, that seems to be leaving one projection frame to enter the other, while the noise of the engines increases and overlaps the sound of the water hitting the hull. This process directs the viewer’s perception, who’s thus brought to feel the image’s hedges ─ the frame ─ and to experience the representation of time.
The recording of an audiovisual score suggests henceforth the possibility of a reversible temporality. The implacable constraint of the frame is also underscored by this duplication particularly perceptible at the point where the limits are crossed by the ship in motion.
