Traces:Birds
November in Marseille, starlings gather on a crane before their big departure to Africa.
The photographic trace, lost with the film, is here reinvented to show the flight of birds under a new aspect.
Will their freedom of movement forever remain a distant dream for humanity?
"Beijing Bicycles" is the poetic memory left on the artist by the thousands of bicycles that circulate in Beijing.
The endless round of images is transformed, slowly passing from an indefinite form to that - constructed - of cyclists, without ever dwelling on the original shot.
The viewer may feel frustrated by the rapid flyover of the initial photograph, while the pixels are already slipping away following their logic: that of colors.
It is because the contemplation of the reconstituted image is not the goal, what matters is the journey of the gaze from one form to another.
Massacre
17 photographs found on the Internet are reworked to deliver a personal vision of bullfighting.
This artistic documentary where the red color, the color of blood, is omnipresent deliberately ignores the presumed beauty of the gesture to focus on the barbarism of this outdated practice.
Jean-Michel Rolland is a French artist born in 1972.
A long time a musician and a painter, he brings together his two passions - the sound and the image - in digital arts since 2010. Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favourite mediums, the sound and the visual.
His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.
His works, always very experimental, are a reflection of the sometimes unexpected internal world of their author and are however the object of an important diffusion abroad. Several have been rewarded for their originality, by Digital Graffiti in Miami (USA), Multimatograf (Russia), dokumentART (Germany and Poland), the University of North Carolina (USA), Festival do Minuto (Brazil), Artaq (France) and The International Video Art Review (Poland).
Convinced that dematerialization of the digital arts is more a strength than a weakness, he leaves access to most of his productions on his website: http://franetjim.free.fr