Numeric device

Numeric device

It is about a grid where are placed the shots of photos settled on graves of dead persons.
These images make share some seconds with these dead strangers quite a lot of time ago and a little forgotten. The past to look at these photos is deducted and carried(worn) in the knowledge of the regardeur.
It is a number of seconds which you passed with the photo of these strangers.
The past between the recording and the moment when you see photos is also deducted.

It is a time of the photography.

Twitter Portraits Assembly, Media Network

Twitters portraits are work mixedmedia in the size format A3. They are realized from photos treated with a product of transfer .In this series of users' portraits of the network Twitter I address directly to a public by showing the result of a work on the network which incorporates at the same time of its realization its own communication. Twitters portraits join a conception which allowed me to realize pictures on the other subjects. (See artistic Approach) This approach questions the idea of projection of an image of a plan in the other one and its transposition according to various representative modes about various supports. The extreme presence of the surface confers an effect with its confrontation with support.

By putting on the same plan in a picture, the language and an image I apply in the field of the art a well-tried method in the media and advertising domain.

Twitters portraits are a serial work every picture of which is a case strongly connected to the others by an identity of forms. I adopt the logic of the network which is an infinite digital production, a combination of images and diverse and often repetitive texts. As the photography which was widely used as material by the artists in the 20th century. I use the flows of information of the networks which (hypertext, video photography) remain a field to be exploited so that they become work of art.

See the pictures on flickr

The art and digital collage

A new aesthetic collage with digital technology
New technologies are winning over more and more artists who are dedicated to where the art of collage or painting, drawing, sculpture, and photography. They use digital technology as a tool in the context of their artistic production. Often the use of this technology is so subtle that it is difficult to distinguish between digital and analog.
Digital allows manipulation and combinations of several techniques such as photography or video is sometimes an art lover finds it difficult to distinguish the different mediums used.
The appropriation and collage techniques that have their roots in Cubist, the dadaists and surrealists in the early twentieth century, already enjoy a long history, the digital has opened up new horizons. Thanks to digital technology, new opportunities open for artists to the art of collage and technology composites. The invisibility of fittings simulates a new reality and gives these images a very new, where the elements were not real transitions between them.

Collages and digital composite images have marked a turning focusing erasing borders. Among the artists who are increasingly using the computer to create complex is the American actor Scott Griesbach art multimedia collage.


By remaining in the art of collage and venturing into that of the image advertising. The latter is no longer a simple representation of a mark but the image carries a concept or a value. Digital technology has contributed greatly to the development of this "consumer culture" of images and art often refers to this theme.
Widely used in the advertising digital collage also calls into question the realism by making it possible realities simulated where hyper realities. The fact that we can also compose a digital image by combining realities of different art forms tends to blur the boundaries between mediums, including painting and photography. The textures are created by printing ink jet on suitable media that rival paint brush.
The elements of the process of composing, writing software, the use of software remain forms of expression that s apparentent the work of collagistes papers but who brings a signature aesthetic entirely new.

Photomontage and assembly

History and Future Directions
It was in 1910 that the German Dadaïsts Georg Grosz, John Heartfiled , , Raoul Hausmann and Hannah Hoöch have the first use of photomontage in reaction to the painting which he denounces the increasing abstraction. These photomontages are part of the will to protest and shock. This new art in 1920 is regarded as a major form of modern realism. Indeed photomontage reconciles imitation and composition.
That view dominates in the middle of Berlin Dadaist who opposes German Expressionism, which is a dominating power, reducing the figure of the artist to that of the image editor (Hausmann, Heartfield), close to the technician , against a devout vision of art and against sensible figure of the artist creator. Blend, off, poem, poster are all practices that put deconstructivist derided art and his claims. Heartfield evolve into a new kind of producer of art: the artist activist whose work is entirely driven by its function, its social purpose. At Hausmann one is in a playful space, in a consciousness that agrees to submit to the impulse visual imagination and automated. At John Heartfield, photomontage leads to a class. It articulates them pieces of a real outbreak, in order to make intelligible to that plunged into chaos in the world. It represents the removal from the point of view of the bourgeois class to the benefit of the proletariat. In the Soviet photomontage ( El Lissitzky , Alexander Rodtchenko ) is a space-perspectiviste and anti-naturalist, combining text and visual. It aims to have on the viewer the greatest possible action. The photomontage is tilted in its entirety by language: in Dadaist poem Hausmann, political slogan among Heartfield and the Soviets. At Hausmann the title does not change the meaning of the table but, as part of the collage, opens up a space to the subjectivity of each. At Heartfield slogan and it is injunction, which is extracted from speech, proverb or quote, as a piece of reality glued to the reality that piece of the picture. In Soviet there is a real sensitivity to the letters of alphabets and typography.

The collage was soon applied to photography through photomontage in the aesthetic of the fragment and shock. There are also attempting to cross painting, photography and drawing, photography and writing.

The collage is conceived as a means to penetrate the lines within a single image from reality (with Brecht: the image alone does not put enough emphasis on the World, only the introduction of extra photographic elements
The effectiveness of photomontage art is not limited by the photographic recording. The assembly is designed to make situations irreprésentables photographically. He is working to raise public awareness in the new social and political situations as well as the caricature. The gap and the detour artifice are facilitated by digital technology.
The digital photomontage operates a passage in the world of cut paper, glue and assembly manual to a World logical-mathematical that enables artists photomontage to tap into a set of images larger and accessible. The world of photomontage ignored the matter and move to a digital infinitely calculable. If the digital photography sees its documentary value compromised by the processing techniques and concealment much easier. The digital photomontage that was already in the pastiche, amalgam, the sensitive copes very well with digital.
But with the development of digital images are all, regardless of their source, something in common. Un air de famille, which is difficult to describe but helps unify the area and to provide air kinship to all images passing through the computer. This style digital is quite present in the photomontage advertising.
But photomontage remains for the artists a way to offer condensed and simultaneous situations and developing a new creativity.

The Mosaics

The origins of Mosaic with collage and metaphor for globalization
Archaeologists have found the earliest form of mosaic made of small stones black and white and sometimes red pebbles assembled by mortar. The Mosaic archaic appears to be the first form of collage assemblage. The oldest date back to Asia Minor VIII century BC. These forms does not called Mosaic at the outset. This name appears in the 1st century BC and his trademark booming, which will continue until fifth century evolving into geometric forms and figurative to decline in Italy and the West in general and later to almost disappear.

The mosaic appears rediscovered by painters like Cezanne and some impressionists from the late nineteenth century. Through their research work on the form and volumes they open up new avenues of research that will put the cubists on the agenda modern mosaic.

Artists from the beginning of a new century discernible contribution at all, and its fragments. The unit together and discontinuity heterogeneity of constituents of a work, harmony result of this activity assembly fascinates artists.

With this report at all with the mosaic fragments also has a predisposition to become metaphor. According Lucien Dällenbach explosion in the use of the mosaic coincides with the explosion of new communications and globalization. It gives an aesthetic dimension at the same time as political. There is talk of state mosaic speaking from Switzerland who form a unit despite a very different languages, customs and tradition. In terms of globalization and the Mosaics esthétise face of the world and makes it presentable. It gives a visible form in the world, it would be so beautiful that the world is a mosaic from which its success and development.

Exhibition to the centre Pompidou Jacques Villeglé

A particular approach of a street entertainment which expresses itself by the Laceration and of takeoff of posters Of September 7th, 2008 - January 5th, 2009

Jacques Villeglé is originally a painter. He studies to the art college of Rennes where he(it) gets acquainted of Raymond Hains who will follow him all the life. He works as A to he gets acquainted with the questions of town planning and public space, before studying the architecture. In 1947 he begins to harvest on the seasides fragment, twisted chains, at which he considers as sculptures.

To leave 1949 he directs his appropriatif behavior to the only torn up posters. For him, the real artist is " lacérateur unknown person ", the collection which can be made by whoever: he so announces the moment of the disappearance of the face of the artist, giving up the place(square) to the "collector" or the collector. " The taking, he says, is the parallel of the centring of the photographer ", and himself wants, as Hains, simple collector of fragments whom he is only choosing and signing. In 1958 he drafts a development on the torn up posters entitled By The collective Realities, the prefiguration of the manifesto of the New Realism considered as the historian of Torn up unknown person, entity which he creates in 1959.

The exhibition of the Centre Pompidou collects more than hundred of works of the 1940s in our days. He approaches in a thematic way the course of the artist since the typographic explosion and the big abstract compositions colored with the debuts, until the recent rhythmic juxtapositions stemming from posters of concerts.

He limits voluntarily his plastic initiative in the taking of torn up posters, then in their transfer on painting, so making exist anonymous and collective productions in the world of the art.


Jacques Villeglé is not an author of " ready-made ", even if he does not intervene (except by rare "helps") on the posters which he takes in streets for maroufler from painting. his work consists rather in letting appear from the urban chaos the beauties hidden in the thicknesses of paper torn by anonymous hands, which sometimes also wrote on posters or dirtied them.

The poster modifies according to the successive humors, its message deteriorates and mixs to those of the posters which it covered until become illegible. Fragments of lower coats(layers) appear, provoking on the surface a carrier chaos of colors and signs of affects: a new plastic language appears which converts the surface of the poster in a symbolic arena messages of which would quarrel the ascendancy.

Photography and technical material of full light.

After the second world war, in an artistic context marked by the development of the naive art or informal, number of photographers makes a commitment in a celebration of the very material. In 1956, Pierre Cordier invents the chimigramme, a technique which in full light and without enlarger, combines the physics of the paint (varnish, wax, oil) and the chemistry of the photography (revelation, fixative spray).

Eminent member of the revival of the German experimental photography according to war, Heinz Hajekhalke makes a commitment at the same time on the ways of the photographic abstraction.

Using techniques very differences as the collage(sticking) or the pictorial covering(collection) of the photographic surface, the English artist Nigel Henderson also realizes in this period some matériologiques experiments. After the series of graffiti, begun(affected) in the 1930s, Brassaï pursues its long survey(investigation) on the walls of cities.

Fascinated by the wealth of textures and structures of these taken the freshness, scaled, cracked surfaces, he devotes indefatigably to the fact that the philosopher Gaston Bachelard described glue of " musing on the material.