"Cosmic flowers of days and nights"
Fully motorized installation © with rhythmic programming, sound, light movements takes us from day to night.
Duration of Installation: 15 min (loop programming with a pause of 30sec between cycles).
Flowers or stars? The flowers are perishable and the stars seem eternal except for counting in billions of years!
Through the question of the longitude of the lives that inhabit the living world, sometimes very long sometimes very short too, like the rose, the installation Cosmic Flowers of Days & Nights speaks of this induced dependence between our vision of the world and the temporal length of our lives.
This philosophical question brings the question of Ecology back to the "Ecology of Consciousness" and questions the point of view of man on his environment, his often anthropomorphic vision which considers at most the ecological problematic at the length of a human life, hardly more than a hundred years.ears.
At what level of temporality should Ecology be thought?
Doesn't a too short term Ecology make the problematic rest on the close future generations?...
Three levels of temporality appear in this installation. Days and nights follow one another rapidly, and what at first sight seem to be stars, in reality, have the life span of a flower. The time of day and night, the time of the flower and the time of the star confront and clash.
In a poetic way, Cosmic flowers of days & nights proposes us a cosmomorphic point of view.
a day and a night last 24h
a rose between 5 and 8 days
a star 5 billion years sometimes much more...
My "Interior Oscillations" are motorized works composed of superimposed moving disks whose gyrations are programmed according to a process of speeds and directions, devices completed by a musical mix diffused at a particular frequency acting directly on the cerebral cortex and putting the visitor in a state of particular receptivity.
Béatrice Bissara "is thus inscribed rather in a certain continuity of artistic movements which, since nearly a century, seek to draw the viewer out of their usual field of consciousness to make them penetrate another state, connecting the driving force of the artistic creation to the cosmic dimension of the creation of the world.
She thus seeks to exceed the "static" status of the art, even to try to approach the experience of the "total" work of art by trying to establish correspondences between visual and auditory sensations and by ambitioning to plunge the spectator in ecstatic states calling upon unusual perceptive faculties. "*
Each "Inner Oscillation" is a journey, a subtle score between movement, sound and rhythm, in which the full and empty spaces and the play of light participate in the construction of a narrative that draws on a wider field of consciousness where memory and intuition meet.
* Extracts, article by Marie Deparis November 2018