Other Video works

This triptych is an enigma with an exploded temporality, which allows cross and associative readings. Its protagonist is in tension between the doll or the android and the woman of flesh-and-blood.

Based on the multimedia poetic show Prototype n°1 by Cie Manon fait de la danse & Rhizome, Laureat of the No Lockdown Art Project, by Transcultures & les Pépinières Européennes de Création.

A co-creation with Kika Nicolela,, INWARD revisits and reconfigures footage of several past projects of both artists. The result is an essay on on solitude, on isolation, on the fears imposed to us by ourselves and others, on our everlasting need to do more, to have more, to be more. INWARD has the collaboration of sound artist Gauthier Keyaerts,  choreographer Manon Oligny,  choreographer/performer Claudio Stellato, dancers Anne-Marie Boisvert et Marilyn Daoust, writter/performers Mylène Mackay, Marie-Pier Labrecque et Philippe Boutin & performer Johann Cornu.

“In Looking for Cindy and the Palindrome series, I find Thomas’s work particularly interesting. Filming the “living spectacle” has always been a delicate exercise. Thomas does not take part in the exercise; he creates a quite separate object, which firmly distances itself from its source, whilst speaking of it. When he filmed Pouliche  by Manon Oligny and Claudio Stellato’s movements, it is neither a transcription, nor a documentary. He seeks to create a personal relationship with the performer, the body and movement, etc. The camera is highly present: the various angles of the shots, the fourth wall and breaks in style are accentuated by a video editing that creates a score made of key moments. I often see teasers of shows that ultimately only speak to me of the difficulty involved in filming the stage. Thomas on the other hand is not concerned with the stage work as a whole. He does not seek to transcribe it. Far removed from a critique or some kind of account, he creates a new corpus, a new material which he uses to create a complete and distinctive work of art.(…)”

 ATTENTION FLOTTANTE Entretien de Jacques Urbanska avec Philippe Franck Bruxelles, mars 2012 – in Memento Body la Lettre Volée –

“In Looking for Cindy and the Palindrome series, I find Thomas’s work particularly interesting. Filming the “living spectacle” has always been a delicate exercise. Thomas does not take part in the exercise; he creates a quite separate object, which firmly distances itself from its source, whilst speaking of it. When he filmed Pouliche  by Manon Oligny and Claudio Stellato’s movements, it is neither a transcription, nor a documentary. He seeks to create a personal relationship with the performer, the body and movement, etc. The camera is highly present: the various angles of the shots, the fourth wall and breaks in style are accentuated by a video editing that creates a score made of key moments. I often see teasers of shows that ultimately only speak to me of the difficulty involved in filming the stage. Thomas on the other hand is not concerned with the stage work as a whole. He does not seek to transcribe it. Far removed from a critique or some kind of account, he creates a new corpus, a new material which he uses to create a complete and distinctive work of art.(…)”

 ATTENTION FLOTTANTE Entretien de Jacques Urbanska avec Philippe Franck Bruxelles, mars 2012 – in Memento Body la Lettre Volée –