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.
3 mediums / 3 approaches
Flat screens or laptops display
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:
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
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.
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.
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.
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.
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.
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.
Intervention in space in order to change
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.
One of Dicharry's preoccupation centers on the conciliation
of different means of expression.
His work opposes the concept production / consumption
against the relationship between difference and experience.
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.