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InterArt

The InterArt project presents pictorial interventions as well as visual and textual poetry sequences or interviews staged by a play of installations which adapt to the space it aims to transform.
An event shapes itself to the way one views it

3 mediums / 3 approaches

Flat screens or laptops display
Wall or screen projections
Transparent PVC projections

A few examples of installation projects

Time shifted projections of InterArt sequences over several walls simultaneously.

Aligned laptops with play of evolving sequences.

Scattered laptops on the ground with:
· Fixed pictures of flowers producing a digital garden " night garden ".
· Play of evolving sequences " Crossimages ".

Corridor formed with PVC panels upon which silhouettes evolve along a suggested itinerary.

Combination of painted poetry (texts) upon the wall and pictorial projections.

Association of hanging paintings or frescoes and projections. (Painting " Torn apart "etc. 23 feet long painting " Pagan festival ").

Showing of an evolving fresco : A wall with monochrome pictures of outlines numbered as in a coloring game with areas to be filled with color. On 3 pedestals 3 video projectors covering each an area of the wall. Are projected, in successive sequences, the coloring of areas by the artist. The projections are exactly superimposed over the outlines drawn on the wall.

"To draw from the miraculous elements, ordinary or remarkable, of life. Demonstrate this by a fundamental factual approach"

Multimedia and interactivity offer a new form of expression. With these tools, InterArt is a proposition of exploration on reality. Layers of reality. An event shapes itself to the way one views it. The combination of mediums, collage of poetry, images and sound offer each element of the construction the opportunity to become as much the initiator of an evocation than a peripheral detail of the subject.
Here time unfolds as a succession of sequences suggesting nothing is permanent. When time has neither origin nor precise finality this freedom to dispose of it offers a large array of possibilities. Free is the artist to compose with this time, then to attempt mastering it, in order to draw from it moments of life.

Evolution/Change

Associating the installation principle with its spatial arrangement characteristics and the video principle with its time arrangement characteristics opens a field of research about ways to approach a work of art. By lending it an appropriate context, a frame, one can participate to the event.

Tools/Organs

The use of different mediums such as image, sound and text like different organs composing an entirety, our body, and reflecting the experience of a whole. This experience does not feed a sole vision but a polyvalent one like the "real life experience" of the physiological particularities inherent to each organ.

Foundation/Content

The proposition of interactivity through movement in space (physical with installations and virtual with links) as well as the choice of different sequences suggests an itinerary specific to each. The methods of style, of techniques and the use of various tools offer to each a reading fitting the " état d'âme " or the existential mood of the spectator.

Form/Language

Communication is one of my concerns such as the different means of expression and of interpretation. One can compare sequences to different languages expressing a same group of interest. These languages fit different modalities of stylistic expression.
For example:
Decomposition of movement
Breakdown of the image - parceling
Working out possibilities for developing a story or unfolding a work of art
Multiple interviews on the same subject

To take a specific example, the parceling than recomposing of the ponies allows a differentiated reading. These are not horses but a picture of horses. This picture is composite with angles, shadows, tonalities and each element goes beyond it's status of detail and becomes an evolving object of it's own.

Process/Technique

Intervention in space in order to change
Medium mix (Picture, poetry and sound collage)
The use of methods such as performances, action art painting, installations, frescoes, inter-active virtual installations or interviews faces the spectator towards personal choices, an intuitive reading as a mirror reflecting his state of mind.

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Assuming art is a vegetable one discovers at the market of life, later sliced and prepared according to the necessities of the moment, Jean Charles Dicharry, Anglo-French artist, can be appreciated as drawing from the miraculous elements, ordinary or remarkable, of life, excavating the internal territories of beings and objects, dissecting and then rehabilitating them to try and reveal a consciousness of their existence.

Performance creator in Holland during the 70's and 80's then of fresco installations in the States, where he attracts the attention of an international media and clientele, Jean Charles presents himself through his photos, paintings & installations, full of poetry and strength, as a new multimedia artist.

His work aims to render manifest the noumenon emanating from the animal, the vegetal or the mineral. He uses a paraphernalia of methods and techniques to distinguish the experience of the present, it's existential structure and the internalization of facts.

Some of his formulas are: Erasing the roles usually assigned to objects or individuals in order to redefine their presence. Rerouting situations to enlighten the paradox of what is alive or inert and the impact they have on the now.
Deconstructing then recombining moments in time and pieces of space to characterize what is significant in the instant. Superimposition of sequences, simultaneous or shifted to reevaluate the interpretation of an occurrence.

One of Dicharry's preoccupation centers on the conciliation of different means of expression.
Incantatory: Existential spirituality, the calling.
Philosophical: Strategic angles, to exist.
Political: The organization of our experience.

His work opposes the concept production / consumption against the relationship between difference and experience.
His creation is not intended to be received by us when in our passive/aggressive state of pleasure and work but when in a mobile mood of multiple evaluation.

Example of an Installation: project Night Garden

The PC notebook is carried and itself carries information. We disseminate it; it propagates containing pixels of ideas as a grain its DNA code.

Night garden is an evocation of the mystery of life by its appearance out of nothingness.
Nothingness so enigmatic for it contains so many suggestions.
The suggestion, for example, of a flower, so simple to our eyes by its natural grace yet the result of complex interactions. Here the project proposes an analogy between human ingenuity with its paraphernalia of inventions such as electricity, transistors & programming leading to digital artificial creation and the process of life emergence from its primal telluric forces to the birth of photosynthesis.

Installation:
24 notebooks disseminated in a space devoid of light and each containing a floral subject.

 

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