summary of the artist’s work

Video interests me as an art form because it occupies, and demands, both space and time when experienced.

For me, video is a supplementary medium that lies beyond the confines of the plastic arts I have previously explored, something to be discovered much like engraving or lithography.

In contrast to music, painting captures one moment, freezes itself in time: as a mode of representation, its very essence creates a sort of constant visual echo.

Video operates further outside our comfort zone: it plays and has a beginning, a middle and an end, just like music.

The reality of video is much closer to human experience, in that it is destined to end, to die.

It is this aspect that undoubtedly makes it more disturbing, since it is probably more narcissistic.

In fact, I create a tight, unique bond between music and video.

The exploration of contemporary music highlights notions of time and relativity within my own art through the phenomenon of reversal – overturning cultural questions relating to the idea of there being something “more” now, and the simultaneity of past, present and future.

One of the things my video work does is to set about establishing a link with the music’s rhythm, then with the melody, as the tonic accents or the sound of the instrument emerge (even if faint); this in turn can stimulate my images to come alive and to dance.

The experience of my videos is not solely based on rhythm; I am not looking for a fragmented, “video clip” effect, but one that will allow the viewer/listener to feel in tune with whatever emotions the sounds inspire in them; and in particular, to distinguish what their brain tells them to see, from what they can hear and are listening to.

When creating the original music to accompany my work, the composer is aware of my artistic aims, yet uses his own techniques to interpret them.

The scope of my “Vidéotopos” is to act as a poetic continuation of haiku, prose, and the infinite possibilities of rhyme.

Ultimately, this work represents a search for emotions and light, the same elements that inhabit my paintings.

Once I have recorded my images with a digital camera, I am like an ethnologist, intrigued by the prospect of discovering a mysterious new world.

I wish to see as a child does, with a mixture of awe, innocence, and faith: in this way, I can make myself completely receptive to experience.

These recordings provide the raw materials for my artistic creations.

I may decide on a theme beforehand, or it may come to me during filming.

The crucial thing for me is to derive inspiration from being touched by a subject’s grace, its soul, and its natural dramatic force.