Failure system

Résumé du document

'From now on, no line of business, no fragment of our individual and collective life, elude the development and pressure of technologies. From then on, no aspect of life in society can shirk away from those intrusive looks.' Alex Turk, president de la Commission Nationale de l'Informatique et des Libertes (CNIL) chairman of the French national Commission on information technology and liberties. I think that diver the surveillance camera from its initial function, that is to say survey human behavior in society, allow the appreciation of a second vision of it. We have then a new approach : the camera which trails crowds looses its political status in favor of a more formal vision.

I choose to make use of the camera as a full-fledged tool, like the raw material of the painter and his canvas. Even if surveillance cameras became omnipresent in public spaces, their banality leads us to forget about them, I then choose to bring them back on the foreground. To do so, I work on the relationship between public space and individual, as well as its violated privacy. Indeed, through those technological eyes, the human being sees himself become a straightforward object, a file, deprived of its humanity. It is then, by a graphic process of visual deletion, such as a spectre, that I free man from camera ownership.

Extraits

[...] Finally, the virtual card process is used as an inventory of my surveillance cameras. A spatiality is created by those ephemeral installations, mapping out a path through the city, until the process will be expanded in other cities. However, we need to take into account a few constraints. Even though artistic works can stand the test of time in multiple ways, works that include digital components raise the issue of their accessibility, present and future, which allow them to go out, be shared and criticized. [...]

[...] Those two processes allow me to manipulate images I steal from existent cameras. A coding allowing me to capture the individual at a standstill, but loosing all recognition while in movement. I then use three major processes : first harnessing steadily, along with postponed transmission and fixed plan pictures. Then comes a street art approach, that allow us to proceed to a genuine understanding by the viewer, while discovering the publication of such images. This way, a mise en abyme of the virtual world is realized. [...]

[...] We have then a new approach : the camera which trails crowds looses its political status in favour of a more formal vision. I choose to make use of the camera as a full-fledged tool, like the raw material of the painter and his canvas. Even if surveillance cameras became omnipresent in public spaces, their banality leads us to forget about them, I then choose to bring them back on the foreground. To do so, I work on the relationship between public space and individual, as well as its violated privacy. [...]