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Postcards

How to use this old technology of the postcard, with its marriage of image and text, its insistence that every exchange has two-sides which can never be considered at the same time, to write oneself back into the world? The traveller alights in Colombia, Bolivia, Brazil, even in Canada, finding words for the old wounds, sitting for a portrait in the middle of the city, out of doors, alone in a crowd. The military ghosts are never far, their costumes barely able to cover up the casual brutalities, even as the city’s citizens come together in unexpected formations, inventing new lives and conversations, like the plant life that flourishes around them, as resplendent as weeds. One of his most perfect and most personal reflections, a letter from the heart.

Postcards

NR 2021
Blue Light Blue

Blue Light Blue is a film and video work that uses the blue light emitted from the backlit LED screens of cellphones, tablets and laptops as a formal element, an experimental narrative device, and a primary material. The work draws aesthetic inspiration from horror films and the cinematic device of “day for night”—a technique used throughout the history of film where footage shot during daylight is processed with a strong blue tint so that it reads as nighttime. Throughout Blue Light Blue, the notions of day and night are confused and the protected, intimate space of the bedroom is transgressed. Blue light is cast as the antagonist in a pseudo horror film where screens masquerade as mirrors or windows or light sources, all the while surveilling us as we gaze into their simulated depths.

Blue Light Blue

NR 2021
Displaced

People fall into water. Seen from underneath the surface of a lake, those men and women, fully dressed in office attire, move around trying to find orientation while following and bumping into each other. Thrown into this involuntary situation, their movements are at times softly flowing, elegant and caring, but change in the next moment into fighting against each other and for air. They are submerged in an environment which is removed from our daily reality associating sparkling fairy-tale dreams and horrible visions of drowning at the same time.

Displaced

NR 2021
House of Skin

This large scale video installation is a nature morte where the camera slowly unveils different fleshy entities embedded with technology. Laying in this strange land, half cemetery half waste-yard, obsolete mutations have been abandoned to create this new ecosystem hanging between life and death. By their shapes, textures and context, each entity is loosely inspired by different films of Cronenberg, such as The Fly, Scanners, Videodrome, Dead Ringers, The Brood, Existenz and Crash. The title is a reference to his film Crimes of the Future. The installation is surrounded by 5 televisions, lighting the room with different videos made with synthesizers. Each pattern represents a manifestation of the body, such as brain signals, heartbeats, blood etc. While referencing Videodrome and the evolution of the electronic image, it also suggests the idea that the body is a form of technology in itself.

House of Skin

NR 2021
D for Daughter

"D", wakes up to the moans of her father's one-night stand. Annoyed at first, D slowly warms up to Vanessa, who is quite the sight for her sore eyes. With her dysfunctional father, Kyle, as her only role model, D navigates the struggles of coming into womanhood while pining for Vanessa, her rare hope for tender, feminine attention. When Kyle drives Vanessa away, D is left to handle her first period with her dad as an untoward sidekick, a defining moment in their relationship.

D for Daughter

NR 2021
Unfinished

Unfinished is a 40-minute personal documentary that encapsulates the struggle of a daughter's mental illness as seen through the lens of her mother. Over a series of hospitalizations through involvement of the ‘invisible’ medics treating her daughter, the mother’s frustrating enquiry to understand and untangle the conundrum of her daughter’s mental health condition unfold. The filmmaker-mother critically examines home videos filmed by her during her daughter’s first episode that unravels the family’s genetic archive. She fears that her past films may be a foreshadow of their lived experience.

Unfinished

NR 2021
Grapheme

“Grapheme” is a short experimental video exploring the visual representation of language and symbols. A personal collection of books, letters, photographs, postcards, posters and signs are represented throughout the work. The title “grapheme” is derived from a linguistic term referring to the smallest unit, or letter, of the written language. In this piece, the written word and representational images are simplified to an ambiguous visual motif through extreme close-ups, a fast-paced rhythm and dynamic motion. The nature of seeing and reading is questioned by the sequence of images, letters and words. Underscoring the video is an original soundtrack composed with a musical collaborator, Daniel Brlas. In this moving-image work, visual language is interrogated as a fragile source of meaning.

Grapheme

NR 2021
Dans un rectangle absolu, le printemps

In Quebec, as everywhere around the world, the Spring of 2020 was drastically changed by the Covid 19 pandemic. I decided to make the most of this extraordinary period by putting the disruption caused to the season of rebirth into images in a short animated film. Using my scanner to animate an assortment of flowers gathered from my neighbourhood and objects from my daily life allowed me to cast a distanced and light-hearted eye at this anxiety inducing global situation. The black, rectangular surface of the scanner is the sole backdrop of the film, like a representation of our confinement within four walls.”

Dans un rectangle absolu, le printemps

NR 2021