I first gathered material in Newfoundland, making recordings under and on the surface of the water, near the icebergs.
This installation synchronizes a series of patterns created by geese flying in formation across the sky during their migration with a harmonic and melodic layout automatically played on the piano.
The feeling of a garden, a tangible and imaginary ecosystem, acts as an anchorage for the explorations, improvisations and audio haikus.
This singular and intimist space is revealed through clues that delicately trace the contours of a past in continuation with the present.
Following the images of some ten sets of tracks, the video images of a rising tide wash away the footprints.
In carrying out this project, I first experimented aboard a 300-meter-long container-carrier ship, the MSC Ilona, during a voyage from Charleston (United States) to Antwerp (Belgium).
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.
The passage of individuals close to the space of presentation, which is a constantly changing work of art, shows us how the wear and tear progressively appears on the landscape.
The sound, diffused under the image, becomes the space where the object is vanishing under the waterline.
First they would hear the soft sound of a cargo engine traveling on the St-Lawrence; and secondly, some mysterious and sparse sounds from sea mammals visiting the same area.
This reminds me that the word “solitude” is often mentioned nowadays, even in spite of all the technological progress in the field of communication.
Over a period of a month, in Victoria Park in Granby, I traced the wear and tear of the ground, in order to copy it in a reflecting material.
For instance, the cartesian planning of our cities versus the reality of our constant moving within the city.