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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


Catherine Sabourin

Charles Desmarais

Charlotte Ratel

Chloe Biocca

Cybele B. Pilon

Special request


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


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".

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