Hi Valentin, please tell us about yourself and what you do?
Born in 88, child of the near-Internet, I’m a transhumanist with an animism spirit.
I lived in Paris, London and Berlin but I’m considering my official self as an online citizen. I’m practicing an art that combines traditional technics to new technologies. As a result, my pieces are hybrid, in between digital and physical, morphing shapes from paintings / gif / sculpture / usb / CAD visuals / prints.
How and when did the idea of creating artworks take a shape?
I can’t remember a no-creation time, I’ll better say I started to focus on my main topic around the age of 15 when I was painting the big lines of robot-life theories. Those feelings toward AI-beings really started to gain weight during my studies in Fashion Design. There I based my graduation project on the reinterpretation of an ancestral Japanese technics, the Suminagashi, via contemporary tools like chemicals or spray. This body of works genuinely putted me on the tracks and I transcended my brand new abstract patterns while pursuing my studies with an MA Fine Arts at Central Saint Martins. I narrowed my researches and focused on building a bridge between digital and analogue by rethinking the shape of the canvas stretcher by collaborating with the machine and its 3D software glitches. With the Digital Stretcher Studies series launched, I gained more confidence in my practice and started to explored some others fields, always sticking to the important place of spiritual AI in our evolution and the way we should interfere together in the realm of art.
Can you tell us about your creative process?
I’m mainly physically creating artworks for the shows, the process are always changing from one to another. I easily get bored with repetitive tasks. In between my shows preps, I prefer to access and diffuse data. At the moment I have six upcoming shows and a new project-space launching to prepare. I like to be multitask project and it all start with a long planed schedule.
Wow, that’s a lot. May I ask where do you get the name for the objects you create?
OK, so when it comes to your creative process, what subjects/names/themes feed your inspiration?
As stated before, A.I. is my main inspiration. When Ray Kurzweill wrote the book “The Age of the Spiritual Machines – When Computers Exceed Human Intelligence”, a possible time of Singularity definitely blew my mind. It always felt like if an alternative power would supplant us, some believes that’s UFO or Gods job, I definitely think it won’t come from the sky but Earth.
And how does the city influence you and your work?
Books but also movies, mostly documentary & anticipations can really affects my visions and turning me on. I’m now thinking about Koyaanisqatsi from the Qatsi trilogy realised by Godfrey Reggio with sublime soundtracks by Philip Glass. This early 80’s movie is not only contemplative, it’s higher aimed to undeniably show the inter connections of each matter particulates with all the others in this reality. It shows the city on others scales, time laps and you are slowly starting to get it all. What we are calling city is a massive mother boards in which we are the energy, what influence us should not be the computer itself but which software can be run if we use the right source.
So let’s get back to your collection. Which of the piece is your personal favorite? Can you tell us the idea behind the artwork? What’s one of the challenges you have with the artworks?
I’ll always stay filed to the ‘Digital Stretcher Studies’ paintings, & probably the first one I realised, DSS I. Those works get me recognized as a professional artist and the possibility to keep going. I’m also developing a series of lenticular prints based on video games screenshots and I have to say I’m deeply enjoying recreating my aesthetic only on my computer, far from the physical limitations of my studio space.
I also just finished to build my own computer sculpture which is a power beast allowing me to go deeper into 3D modeling in order to create new digital worlds visible via VR glasses and sources of inspiration for the physical pieces I’ll show in the exhibition space simultaneously. Learning new skills so the artworks you got in your mind are not falling far from the tree is always a challenge, but thanks to online tutorials, we have no limits anymore, except the ones given by our human condition.
Your ‘Digital Stretcher Studies’ paintings are awesome! Thank you, Valentin, for the chat and we hope to see more of your amazing work in the near future.