10p0 - L'Exploration
Exploration is the foundation of learning. To explore is to travel through a known or unknown area, without knowing exactly where this route will lead. We can use all of our senses to embark on this deepening process, in this phase of creation where anything is possible. The exploration techniques are innumerable, because more than ever, the techniques available to us offer us a panoply of possibilities ranging from the traditional to the most contemporary. In creation, exploring goes through many paths, where the stages overlap and intertwine. We reflect, observe, we document, we analyze, we experiment.
The team
Israel Italian
Micael the Italian
Wendy Moran
Alexis Quesnel
Elodie Trudel
The contributors
Alessandra McGovern
Alexy Prefontaine
Alice Picard
Alix Neyvoz
Amelie Haeck
Andree-Anne Mercier
Armands Freibergs
Bang Bang workshop
Audrey Beaule
Camille Perreault
Camille Pomerlo
Barracks
Catherine Sabourin
Charles Desmarais
Charlotte Ratel
Chloe Biocca
Cybele B. Pilon
Special request
Skid
Edgar Lopez Asselin
Eloise Carrier
Emile Lord Ayotte
Esteban Jordan
Etienne Aubert Bonn
Fadi Bergeron
Florian Petigny
Franco Equality
Gabriel Packet
Gabriel Sabourin
Gildas Atchinak
Hugo Hugo
Isadora-Ayesha Lima Fortin
Juliette Duhe
Juliette Dupont Duchesne
Laura Charette
Lea Pradine
Luc Verreault
Marie LeMoigne
Marie-Sarah Bouchard
Mathieu Larone
Nick Ibrahim
Olivier Charland
Philippe Mahtieu
Pier-Philippe Rioux
Pierre-Alexandre Noel
Samuel Lauzon
Sasha Royal
Sodom & Gomorrah
Tounü
Vincent Hurtubise
Vincent Tourigny
William Thibault
Xavier Cyr
Digital submissions
Alexy Préfontaine - The Eye
This creation is first and foremost intended to be an audiovisual exploration. In fact, it's one of the first times I've experimented with motion design, especially limiting myself to primitive forms in order to create a more abstract and less figurative visual. The idea behind this creation was to design a simple animation exploring the shape of the eye. Having finally completed the visual, it seemed necessary to me to give it more personality by accompanying it with a soundtrack. So I composed it by evoking a story where certain sounds are produced in response to the variations that occur in the animation. These serve to accentuate the story and create a progression throughout it. Sounds are produced using a Korg Minilogue, an analog synthesizer. Combined with the rather calm and meditative frame, these sounds help to give the visual a certain nostalgic atmosphere. Finally, the result then becomes a short minimalist visual waltz in which the form, reduced to a primitive essence, is altered over the course of the music.
Amélie Haeck
Exploration may be about putting together colors, shapes, objects and sound. Exploration may be about making calculated or haphazard choices. My exploration was perhaps only a way to freely escape the bland 9 to 5. My exploration was perhaps a reason to create in an uninhibited and unpretentious way during the long months of January, February and March.
William Thibault
In this piece, the exploration aims to highlight the contrast between different shapes and materials. The cold and reflective metal object arouses sobriety and minimalism. As for him, the line of fur brings a touch of delicacy to the whole. Thanks to well-controlled lighting, the fur gains interesting color variations and it feels very soft to the touch. On the right-hand page, the enlargement of the composition aims to highlight the micro details that give the work a remarkable subtlety. Basically, the concept grew out of a little sketch on the corner of a page. Several months later, by dint of contemplating it, a 3D version took shape. By exploring different lighting techniques, this chiaroscuro approach stood out from the crowd, giving the composition an effect that was both majestic and mysterious. The water droplets that run along the metallic shape, like a soft drink advertisement, are little details that add a sensitivity that is also found in fur. The desire to come and titillate the viewer to touch the texture of the fur is the main goal of this work.
Armands Freibergs
A work in progress animation where I invite
the viewer to experience the fabricated "behind" the scenes of contemporary digital 3D animation process and speculate whether the value of production stages can surpass or can be seen as the "final" product itself and edit it toge-ther in a way to form a previously unseen truth as Dziga Vertov strived to do so 1929 in his movie "Man With A Movie Camera".