imprints

Empreintes sonores is an interactive installation that looks at the traces we leave in the digital space. The installation uses a hacked voice-activated assistant to record continuously. The captured sounds are triturated, remixed and played back in the environment.

Fragments is an audiovisual performance that explores how automated data processing systems aestheticize human relations and global conflicts. Audiovisual fragments extracted from the news are transformed with electronic instruments, video game engines, photogrammetry and sophisticated AI and A-Life techniques.

Groundless is a video creation that displays weightless bodies moving and morphing to the rhythm of an acoustic music soundtrack. The work brings together an aerial circus artist and two musicians that make use of motion capture, video game engines and spiking neural networks (SNN) to explore the expressive qualities of virtual bodies in suspension.

ON/CONTACT is an interactive installation in the form of a haptic column that the interactor squeezes against their body. It is based on an interaction paradigm that puts the concept of encountering above that of controlling.

Partitions itératives is a series of performances consisting of composing music with data streams, generally from outer space objects. These performances offer a sensitive re-reading of scientific data, replaying at the speed of sound a set of data traveling astronomical distances.

With the intention of questioning the structural and aesthetic nature of the virtual image, Slow Track forgoes the excess, speed, spectacle, surrealism, sci-fi, and fantasy commonly associated with computer-generated imagery.

Space Junkies examines how space debris and space goodies can ‘’forensically decode’’ (Schuppli, 2020) the capital and material accumulation of space exploration and its socio-environmental impacts.

Symphony of the Stones is an installation that examines the correlation between the abnormally high presence of heavy metals and magnetic residues in contaminated soils. The project originated from a site-specific study and a series of interventions in a former marshaling yard in Montreal.

A skateboarder is like the diamond of a record player, rolling on the textured ground of the city. He follows trajectories from which emanates rhythms and a unique musicality. The urban space is like an immense vinyl record, only asking to be skated, to make a sensitive experience of slide and friction, an experience of…

Memories, encompassing terrains, spaces, people and emotions, are reinterpreted through 3D scanning to create a Unity-based archive. Inspired by Barthes’ Atopia (1995) and Debord’s Drift (1956), this VR project employs point cloud images, ambisonic sounds, and melodies to craft a 360° immersive experience within this mnemonic landscape.

the dream transcends boundaries of body and mind, facilitating calm through a bio-reactive feedback system. In this installation, a participant’s theta (brain) waves are captured through a sensor to animate a particle system in real time.

Displayed on five modified miniature screens, this installation examines the enigmatic movements of a wandering community in a desert environment. Inspired by the prospective nature of Harun Farocki’s operative images and the prescient dimension of Mary Shelley’s novel The Last Man (1826), the scene suggests an oscillating impression between the compulsive surveillance of the territory…

This installation explores our relationship to the world and technology through the undersea infrastructure of the Internet, evoked as the “backbone” of our interconnectivity (Starosielski). Like an informational ecosystem, Transatlantic Visions examines this phenomenon of invisibility and circulation from the Atlantic Ocean and the web.

Inspired by the artist’s dual Caribbean and European heritage, Virtual ISLANDs explores the relationship between the experience of virtual immersion and the physicality of being submerged. This multimedia installation includes a 6 degrees of freedom (DOF) VR experience, inviting a reading of “virtual reality” practice as aesthetic / artistic creation.

While in Coliumo Bay, Chile, investigating different modes of orientation by local fishermen, sound artist Sandra Volny discovered that they were able to navigate the treacherous, dark and foggy conditions of the Pacific coast by relying on sound.