Lise-Helene Larin: Collaborating by Numbers

  • ©2004, Lise-Hélène Larin



    Collaborating by Numbers


Creation Year:



    Experimental Animation


    Length 6:48


Artist Statement:

    “Collaborating by Numbers 2003” is the result of my cpllaboration with Simon-Pierre Gourd who created two digital sound tracks for two of my films from the series of seven non-figurative 30 anima­ tions, “Painting by Numbers.” He decided to call them “Music by Numbers I & II.”

    In my series “Painting by Numbers 2000-2004” I investigate the paint program included in Softimage 30 by painting and drawing on my objects. I model organic objects, the su ace of which I animate and clothe with the same non-descript texture using various parameters in the “Matter interface” to invent a landscape. My palette consists of animating the colors of my lights. 30 animation becomes my “tool” to rearrange the elements of the traditional languages of sculpture and painting while exploring uncha ed visual realms in 30 animated film.

    I also want to create new emotional conditions in viewing my films.

    I show my digiscapes in installations using anamorphosis to further heighten the sense of loss and to stimulate the imagination.

    My films are about absence and void in a virtual space devoid of a point of reference but filled with textures that envelope the senses while piercing the eye. “Painting by Numbers VI” shown here, was created to be installed in a space where the viewer can be sur­ rounded by an unusual architecture of mobile polygonal screens so that perception can be renewed and questioned while the body attempts physically to make sense of it all.

    I also show still frames from my animations to arrest the movement that stirs the imagination and to allow the body to move deeper into the images that construct the film.

    In “Music by Numbers II 2003,” Simon-Pierre Gourd investigates immersion, space, and movement provoked by simultaneous synesthesia and perception. He creates sensations of circular heights while playing with paradoxical tonalities. The music is composed using Granular Synthesis and FOF Synthesis in CSound Language with stochastic generation in real time.


    Simon-Pierre Gourd