Jean-Michel Rolland is a French artist. 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 give new realities to the world around us.
Entropy: Zellige is a photo-videography, a photograph that evolves over time to change status and become a video artwork. This incarnation of Moorish culture, subject to entropy like everything else, slowly loses its coherence and eventually disappears. Entropy: Zellige proceeds like a mandala where the sand painting is born only to die from the hand that created it. On slow-paced music, each tessera detaches itself from the mosaic it composes and seems to dissolve, leaving in its path dripping and coloured spots, to complete its metamorphosis in an abstract composition where black will have eagerly devoured the other colours.
Entropy: Sky is a photo-videography, a photograph that changes over time to change status and become a video artwork. The pixels of the image are drawn, depending on their brightness, in opposite directions. From these torn skies will remain only traces, vestiges of a time when the great balances on Earth were respected.
Entropy: Boccadasse is a photovideography, a photograph that evolves over time to change status and become a video artwork. This small Italian village, subject to entropy like everything else, goes through different aesthetic stages to finally disappear. At first glance, Entropy: Boccadasse looks like a postcard, the image of the village by the sea is ideal. But quickly, large lines come to encircle the oscillating forms of the architecture which dissolves, pixel after pixel, in a large whole similar to an eye which looks at us. Entropy plays here by the passage of a trace in which the spectator finds his bearings, believing to recognize a painting by Egon Schiele or an impressionist canvas, to end in a disturbing, smooth and elusive form, resulting from the movement of pixels that have assembled according to their color.
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