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Pascal Haudressy / Francia

Text by David Rosenberg
To Samarcade, the vision is clouded and deepened by the contact of architecture and its innumerable ornaments. Everything is of a vibrant fixity: the ties compose and decompose fleeting motifs. Everywhere, on the ground, on the walls, on the surface of the domes, a mute art unfolds, whispering of words, an abstract art generating penetrating visions. Mosaics prefigure our pixelated images. The fabrics and their reflection of “moiré” effect, the carpets and their imbricated motifs aspire the look, capture it and animate it of a kaleidoscope movement. We are at the heart of an abstract universe, mathematical and spiritual based on rhythm and repetition; Where the eye is no longer the starting point from which the “images” are ordered, but the crucible where they are formed and dissolve.
A hypnotic or meditative geometry: this is how Pascal Haudressy characterizes what is the source of the first series of works presented here. Simply titled Organs, this is a set of “video-loop” (loop) where each organ -heart, brain and lung- is represented in isolation by a specific color -red, blue or green- on a black background. The works can also be combined in the form of diptychs or triptychs. From the point of rendering, they evoke medical tomography, but the comparison stops here. With these “drawings,” it is more a matter of processes cycles and rhythms, than of anatomical accuracy.

Satori visual: the gaze is rocked by a double movement; That of the organ itself (diastole/systole of the heart, inspiration/expiration of the lungs, neuronal activity) and drawing, constantly being reconfigured. Formation, deformation, information: Flow of images and incessant calculations that underlie them. A cyclical movement similar to the waves. A vibrant silhouette as in weightlessness.
To produce this new pictorial matter, at once chaotic and orderly, Haudressy “spoils” computers. He introduces “glitches” (electronic bug) and some “bugs” that will in turn induce uncontrolled modifications of the image. Alterations, transformations, deformations: The computer is obliged to constantly recalculate the coordinates of each point or pixel. Taken in an iterative process without end; The drawing produces no more a fixed structure, but some evolving forms. This work may evoke the dynamic and fractal focus of Julie Mehretu’s drawing, the graphs of Jorinde Voigt, or Giacometti’s “additive” method that takes the figure not through a definite line, but a series of entangled approximations with the others. It is also possible to cite, by virtue of more distant artistic affiliations,
the software “Life Forms”, from which Merce Cunningham used to elaborate his choreographies or the
investigations of the OuLiPo, prototypes of an art that generates evolutionary structures.