Le Boucher on his best at Mordoch and Waltman
Digital art is more and more at ease at Paris' rive gauche galleries. After Labau at Denise René's (boulevard Saint-Germain), Lelia Mordoch and Olivier Waltman (both on rue Mazarine) opens their year with a wide collection of digital artists.
These two galleries give the major part to Alain Le Boucher, with two works of 2013 at Mordoch's and one at Waltman's. These sculptures are the ripe fruits of a long search, and the gracious perfection of his wire sculptures is animated wih ever more complex and subtle algorithms. Perhaps some more explicit semantics would help the spectator to get into the artists intentions, though the titles (The infinites, Infinite's Birth) give a first clue. The coming Spring could see new developments by this artist, who is presently exploring new technological avenues in his studio.
Malachi Farrell: Zeotrope . 2013
At Waltman's, globally more "design" than "contemporay art" proper, let's note an intriguing work by Malachi Farrell. A sort of digital remake of the praxinoscope (see Wikipedia, sorry, in French only)
At Mordoch's, with their wider spaces, some veterans have their place, in the same vein as Denise René's. François Morellet and his neon tubes are not properly digital, but frequently presented in company of kinetic arts, two basic roots of digital for their structural spirit. Typical of this forerunning works, Répartition aléatoire de 20% de carréa superposée 6 fois: bleu-vert-jaune-orange-rouge , by Morellet (1970) is algoithmic in its concept but traditional on it medium (acrylics on wood).
Pierre Berger, Feb. 15, 2014.
Paris ACM Siggraph, the French chapter of ACM Siggraph, worldwide non-profit organization of computer graphics.
Les Algoristes, an association of artists using their own algorithms in their work.