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| PROJECT PROPOSALWHAT :
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| Throughout the past years I have been developing a video practice dealing with recurring themes. It develloped through an intimate and conceptual approach to video and filmmaking. I have involved persons and communities I have encountered through living or visiting different places, and I have been thinking of my relation to them. It could have been my family, more or less closed friends, inhabitants of a city I have been to.
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| The research is concerned with questions of self representations as well as the perception of reality and fiction, both on the level of the characters of my films as well as the viewers of them.
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| My practice has been articulated through different experiment of format and language of video making, through a reflection on my position as the person behind the camera and the relation I can have with the subject of the film. I have been constantly exploring how these various element communicate with each other.
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| Last year, with my project Pourquoi Tu Cours, my desire was to propose to my friends from my home town to make together a sort of feature film, where they would be the actors of their own characters.
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| It became this 30 minutes long film that oscillates between fiction and non-fiction, scripted and non scripted.
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| With this project I directed myself closer towards a cinematic language and mode of production, where I had to think about questions of plots, scenarios, fictional characters.
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| Moreover, I was engaging more intensely in social problematics and the impact or the message that my practice could have in that regard.
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| From that experience new questions started to arise that I would like to deepen this year.
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| Going from documentary to fiction, short conceptual video depicting a gesture or playing more with the language of editing and transforming initial records. As I have been playing with different forms of video making, I would like to deepen my research on the different forms and use of the camera. FIlm theory, cinema theory. My wish is to come closer to an understanding of the essence of cinema and video, of the tool and the consequences of filming certain things.
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| What language do I use?
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| But also, understanding my position in it. What are the differences and the analogies between my practice and the one of a sculptor for exemple?
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| Last year, I have been looking into the concept of "performativity" in relation to my work and explored the meanings of this notion. Performativity is about producing, acting, reenacting, representing as well. I tried to understand better the work I produced by looking at what I have done so far, my collection of end products, the artworks but alsoi by deciphering my process of making, as a mechanism in relation to the concept.
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| TALK HERE ABOUT MY STRUGGLES
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| But the thing is that it took me time to realise that this research on performativity, the understanding of that term should also open a dialogue and a reflection on what being an artist means for me. What makes me want to make art, video and how to go on and learn from it.
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| I kept the development of my work detached from my personal development.
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| How does my work starts, where does it start, where do my ideas come from?
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| Aims and objectives :
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| - intensify the experimentation of filming and constructing narratives. Pushing projects to its limits, doing without too much thinking, going beyond my reluctance to writing and constructing made up stories. Experiment more with fiction ===> creating very short scenarios, filming and editing it in a short period of time. Scenarios inspired by my previous work Roomates, make small scenarios about people living in my street in these temporaries subrented houses, going to one house to another, constructing stories specific to the person being filmed, in collaboration with them, filming it without thinking too much on the concept, the connection between people, the quality or meaning of the story.
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| - finding a voice and a language for my research and my concerns in my practice. Being able to articulate my anxieties and my struggles but also my discoveries and my knowledge through writing. Thinking of what does these struggles means for a larger spectrum than my own practice? Solitude of art making, you have to build your own knowledge, no one can tell you what to do. Struggle in the pracalities of making videos, its a collaboration but sometimes not. ===> this can take the shape of a diary that will follow my journey in making these small videos.
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| - From this diary connect it to theory and elaborate a reflection on video making, the intertwining of art and life, the modes of production in film making, etc...
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| The text and the practice should trigger each other. The text and theory would help the reflection and can be a source of inspiration for new videos and experiments, as videos and experience will feed the production of text through the form of diary and recording.
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| REVIEW OF FIELD OF RESEARCH AND PRACTICE
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| Artists :
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| Wendolien van Oldenburgh , Chantal Akkerman, Agnes Varda,Bruno Dumont, Manon de Boer,
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| Video and cinema theory :
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| Deleuze, Cinema
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| Roland Barthes, La Chambre Claire
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| Stella Bruzzi, The new Documentary
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| Reality TV, the work of being watched
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| WHY
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| HOW
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