Electro-Acrylic Project: A newcomer

lundi 6 février 2017

A newcomer - Fred Trétout

The basic concept of the Electro-Acrylic project is to interact Low-Tech with hi-tech. But it is also exploring an experience of creative feedback stemming from the mutual influence between music and visual. From the beginning we wanted to transcend the visual of the canvas in the same way as the sounds emitted by it with the blows and rubbings of the brush.

Like Frédérique Laurier's creative work, which captures and transforms the sounds of the canvas, a newcomer, Fred Trétout, will capture the image of the canvas and the movements of brushes and hands, as well as the musical waves for Create a whole visual universe.

Fred Trétout is an "Interactive motion designer". He has a wide range of beautiful accomplishments, such as the visual for the circus Éloize Cirkopolis show

"I studied video games / virtual reality, moved to Montreal in 2009 and specialized in motion design and projection mapping, and I know the video, VFX and scenographic production pipeline very well. I teach digital art to licensed students, I am in permanent technological watch, real time has as much interest for me as the precalculated. I like to create interactive installations."
- source Linkedin

http://fredtretout.com/projects

Next performances

SAT (Société des Arts Technologiques)

May 9th, 10th, 12th, 2017

details coming soon

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Past performances :

Journées de la Culture
1er octobre 2016
Galerie ArtGang

Composite #6 chez Ubisoft
29 septembre 2016
Journées de la Culture
Culture pour tous

AIM Festival
June 26th, 2015
Parc Carillon, St-André d’Argenteuil
aimexperience.com

Arsenal
April 22th, 2015
Montreal

EM15
Elektra/Mutek

May 29th 2014

Musée d'art contemporain de Montréal, Salle BWR

15x15
Nuit Blanche
Montréal en Lumière
March 1st 2014
15th of Mutek
Coeur Des Sciences
Montréal

CycleArt
Cyclo Nord-Sud
December 2013
Eastern Bloc
Montréal

Approach

The observation of the interaction of the "High-tech" and "Low-tech". The"High-tech" here is obviously represented by the electro-acoustics and the "Low-tech", are the brushes and canvas.

We are moving inexorably in a "High-tech" world to a large extent, for many good reasons. Along with this, there is a movement, a consciousness, a reaction, a desire to return to a more "Low-tech" approach to our environment and our lives. Are the "High-tech" and "Low-tech" two ways to understand our way of life? Should we choose sides? Do we really have to compartmentalize our modes, classify and label what we are by using a particular form of work ?

This performance tries to show that not only these two worlds can co-exist, but they can melt into a movement that enriches each other by opening up the physical and creative relationship .

Under approach

It is a kind of artistic mixture based on the interactivity of two completely different art forms at first, but which are substantially very similar in their creative process. Music, like painting, is about working in layers by establishing a space, whether it is bilateral or multi-dimensional, of distinct elements that forms a whole in a constant search for balance.

Usually, a painter tries to start, model and finalize an image. But in this case, it may radically change during the process. It is the same for the musician who usually tries to structure and compose a piece according to identifiable principles.

But here, in the context of this performance, there is an element of the unknown in what will happen during the process. Both experienced artists have to expect the unexpected. As much from the point of view of the artist as the musician. This is a deregulation of the individual artistic modus operandi that requires each artist to explore and discover their art applied to a whole other creative form.This goes beyond the simple performance of improvisation where it is usually based on its tools, its experience and first references to nevertheless control the situation. Here, the two artists will have to let go and release their creative reflexes. The share of risk is greater.

Technique

Microphones and sensors are placed behind the canvas. The artist creates a work. In doing so, the microphones capture the passage of the brush on the canvas and the vibrations depending on the intensity of the creative impulse. The first sounds generated are taken by the musician then modulated and organized to transform the sequences and form a soundtrack which will serve to create a piece of music. In reciprocity, musical composition will directly influence the pictorial composition. A creative Larsen effect (feedback) is then created. We do not know who influences who. Both works are built over each other to form a unique performance.

It attempts to create a perfect harmony between the arts and the artists. One is not only a musician, since it influences directly the painter's gesture. The other is not only a painter, since it generates sounds and sequences.

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lundi 6 février 2017

A newcomer - Fred Trétout