Caspar’s videograms act as a conduit, helping us to rediscover a new-born, poetic world in its elemental, primordial, fantastical state.

Like the Impressionists, Caspar is willing to come out of the studio for his art; and like the Land and Environmental artists, he understands the importance of nature’s role as giver (and symbol) of life.

All of this links in with his work as video maker, and the setting up of a digital studio where he can once again focus his energies on the natural world.

The artist’s aesthetic quest draws on his exceptional skills as an editor and also on his systemic experimentation with alpha channel and YUV video formats.

Digital video has given Caspar a means of satisfying his deep interest in the explosion of multichannel technology, as well as a tool for working on time-distortion and its application to rhythms implied by the music.

The artistry expressed through this act of creation approaches a form of lyrical abstraction which is very similar to a “moving painting”.

There is a close correspondence between contemporary music and the way the artist scrutinises and develops ideas during the creative processes that drive his work.

The original musical compositions by Gilles Mardirossian which accompany Caspar’s videos are born out of Psophos (an ancient Greek term, used by Sophocles), signifying “noise which is not articulated”, which is then augmented by Phtegma, or “noise which resonates and articulated sound”.

They detach the world from its reality, suggesting that the gap between real and imaginary is indiscernible, in order to give it back to us in its ontological form, its true essence: profoundly enigmatic.

In turn, Philippe Hurel’s music allows Caspar to broaden his field of artistic investigation: it is a departure point to which the artist can always return.

The music is also a means of listening carefully to the composer’s universe, of embarking on a voyage of discovery whose end result is the creation of a kind of resonating echo of intermingled poems.

Today, Caspar’s videograms are more intimately connected than ever to his paintings; they add a dynamic dimension to the paintings which has hitherto barely been explored.

Caspar seizes nature to produce an unusual “palette”, consisting of rain, sand and journeys…

Nature is transfigured, in a medium which drastically disrupts, a painting of photons.

A dialogue between the paintings and videos, experienced through the movements the medium exposes, is thus established through the visual proximity of these two complementary art forms.