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Jean-Michel Rolland

Fran et Jim

Jean-Michel Rolland is a french artist born in 1972.

A musician and a painter for a long time, he manages to melt his two passions - sound and image - in video art and audiovisual performances since 2010. At the origin of each of his creations, musicality plays a role as important as image does and each one influences the other by transmediality. The result is a series of experimental videos and performances where sound and image are so inseparable that the one without the other would lose its meaning.

His videos have been screened in french and international video festivals such as Vidéoformes, Instants Vidéos, Directors Lounge, Traverse Vidéo, K3 International Short Film Festival, Madatac, Screengrab, DokumentART, Cologne Off and much more. He won the most innovative work prize at Digital Graffiti (Florida, USA) in June 2012 with his work Neons Melody, the second prize at Sustainability Shorts Film Competition (North Carolina University) in April 2013 with Running Water and features in an article dedicated to video art in Elephant Magazine n°11.

He performed in 2012 at Artaq urban arts festival (Angers, France), Dimanche Rouge (Paris, France), Kasseler Dokfest (Kassel, Germany) and 3rd Computer Art Congress (Paris, France).

Convinced that dematerialization of video art is a strength and not a weakness, he allows anybody to access most of his productions on his website : http://franetjim.free.fr

Artist Statement: 

At the origin of each of my creations, musicality plays a role as important as image does and each one influences the other by transmediality. The result is a series of experimental videos and performances where sound and image are so inseparable that the one without the other would lose its meaning.

I particularly appreciate using short sequences (samples) and repeat them all along my experimentations, wishing to transfigure commonplaces into coherent work. The sequences are treated as mere utensils, found objects, used to create visual and musical compositions at a time.

Unlike Scriabine's, Kandinsky's or even Schoenberg's works with whom I like to identify, neither sound or image come first ; the two mediums take birth in a same creative impulse intended to be reactivated.

 

My technique is to capture short samples where sound and image are straight away equally important. The strong constraint of my approach is to never separate them but to play with their perceptive complementarity. These samples are multiplied in time but also in the picture, undergoing successive distortions that affect the frame rate, color, scale, not to mention those imposed necessarily to sound. The repetition, time lag and arrangement of the samples create a near-musical rhythm that in some cases may be at the origin of the final composition.

To summarize, sound, rhythm, musicality on the one hand and the constantly evolving plastic composition on the other are inseparable elements of my approach. It’s how I get what I call rhythm'n'split.

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