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What is our relation to the world of ideas, speculative imagination as a discipline of the mind, and what it engenders? This short film proposes an oneiric exploration of these mental or geological terra incognita, source of inspiration and of life. In revealing what exists, but that we rarely see, these images become the equivalent of a rock brought back from the Moon : they are the testimony of a little-known place which fascinates, and questions the limits of what we believe to be the perceptible.

Each individual’s particular mental universe is surrounded by the unknown, and everything exterior can challenge these interior frontiers by both softening and stretching them. Could it be that what we’re living is only a fragment of an entity which is much greater and more complex? The awakening of consciousness professed by contemporary art would therefore occur through fragments of evidence of this interwoven, multidimensional space being drawn back into the field of consciousness. In this day and age, where neuroscience is gradually unveiling the functioning of the human mind, introspection and exploration of this intimate, imaginary superworld is more conceivable than ever.

Silvère Jarrosson

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My canvases reflect an underlying ambiguity between movement and stillness. They are fossils, traces left by a movement which engendered them. This ambiguity also gave birth to my work on video. I do not conceive of this as an appendix of my pictorial research, but rather as part and parcel of it. Symmetrically, this digital work also impacts my painting style.

I do not use a camera. Using photo-based digital processing, I restore to my works the tremulous organic movements that gave birth to them. Where are we precisely? Not just in a white space, edge-less and dimension-less, but also at the early stages of something’s birth. Uterine chaos, and the agitation that accompanies those initial, self-seeking moments.

These paint Fragments’ movements, palpitations, and elongation drawn the beholder’s attention back to the artwork just as I complete my canvases, and bring one, yet again, to ponder on what underpins these shapes’ birth. The nuances on which these dance gestures embark, and their inconsistency, all contribute towards an illusion of something quite definitely alive. Digital technology has me travelling in multiple directions across the canvas—as would a body, unfolding, as it were, within it. This abstract ballet piece, devoid of any specific framework, opens up an entirely new mindset for the world of choreography.