kinetic digital art installation&performance
"The meticulous analysis of objects, whatever their nature, implies taking an interest in their part of the invisible, to which the contemplation of the installation Effet de champ (2021) by Stéphane Bissières invites with magic there. The uninterrupted ballet of moving dark matter contained in the bottles is due to nothing other than the forces of the invisible which animate them. (…) The extreme vivacity of the fluids summons the supernatural. Without having time to grasp the signs following one another at full speed, we guess that these are musical phrases addressed only to the gaze. "
Dominique Moulon, Artpress N°492, Octobre 2021
L'installation Effet de Champ est visible au 104 à Paris jusqu'au 3 Janvier 2022 dans le cadre de la Biennale Némo
digital art, 2016
Camera, computer, video projector
Human likes is an audiovisual interactive and performative dispositive using Augmented Reality to create link between strangers. The interaction is based on a face detection device used to design a visible interface between different observers.
Beyond the playful side, it is about the ambiguity of a video surveillance society which one can hardly escape, with data extraction everywhere. It is about computer vision and how we are seen by the machine. Simply observe to enter the network and be interconnected in realtime to other observers.
Copper, wood - 2021
Sound art installation, 2016
Hard drives, arduino
"Hard Drives Music" is a serie of sound art installations (Dataline, Clapping Drives, Coil Song) composed of the assembly of several hard disk modules controlled via Arduino. Each hard disk is an acoustic sound source, making a synthesizer that algorithmically produces generative melodic patterns.
In the field of digital, virtual and abstract arts, these obsolete things are like vestiges of a changing entity. They tell us about our identity and our evolution. The"mechanical" hard disks are dismantled here, deprived of their memory tray to leave only the mechanical part visible. A new life is breathed into them with micro systems in order to generate musical patterns, in a form of industrial poetry reflecting our relationship to obsolescence and technology.
On March 17, 2019, one year to the day before the first confinement in France following the SARS-COV2 pandemic, I exhibited the installation "Human Likes" at the Museum of Contemporary Art in Shenzhen, China. It was an interactive device based on a face detection system to directly weave a visible network between different observers, to bring strangers together to create social ties but also to challenge data collection. Like an echo, the installation “DISTANCES” represents the imprint of a past moment of social exchange of which only the canvas remains, deprived of human faces. A trace left by a "computer vision", a symbol of the brutal and profound transformations that society is undergoing. The installation is carried out using a network of ground anchors connected by halyards.
kinetic digital art installation
// Prototype //
Generative kinetic installation using moving lasers to create geometric patterns.
"Music for the night": Composing music is arranging and shaping sound waves. The installation transposes this act into the visible domain, the light wave replacing here the sound wave in a slow movement, the caustics (reflections) providing a "timbre" to the light.
Immersed in the night climate like the classical musical form of the same name, the nine evolving forms evoke a combination decryption related to the nature of our reality, considering time, space and matter as data.
Generative A/V installation, 2015
Flowers is a an autonomous audiovisual piece about artificial life. It is a dynamic system able to generate self evolving endless variations of unpredictable events, but all with a recognizable common character.
The result is a piece starting from very few elements with no rhythmics and as we go it densifies and the patterns emerges, the rhythm and musicality are stronger, while being very organic and unpredictable.