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A Chat with Yann Le Guennec

In Art, Feature, Interview on May 13, 2009 at 4:14 am
"Unité Centrale" by Yan Le Guennec

"Unité Centrale" by Yann Le Guennec

Hi Yann.  Welcome to Art Digital Magazine.

Hi Max

I’d like to ask you a few questions.  First, I know that you are French, but where are you located? France?  Canada?

I’m located near Lorient, Brittany, France.

I see that you create photography and (digital) algorithm landscapes, what are the mediums that you work in?

I’m working with several mediums such as installation, drawing, text, code, photography. The fact is that all these experiments converge to digital picture. For example, an installation made in 1989 is resulting today in a digital picture. Digital picture is also a place where it is possible to develop interactions between online distributed data, online softwares, and photography, in order to produce something else, like an infinite series for example. Digital picture is really today a crossing and reoccurring point in my divergent practices.

How long have you been an artist?

I really started to work on my own artistic experiments in 1988, when I was 20.

I’ve been looking at your website. which seems to be made into 6 departments, Reseaux, Memories, Projects, Cercle, Carre & Triangle.  It all looks quite nice, but what’s the reason for the separate categories?

"Urchin Spime" by Yan Le Guennec

"Urchin Spime" by Yan Le Guennec

Categories are a way to give some structure to something very continuous and diversified. It can give some entry points and ways in the artistic continuum. When I experiment and produce things, I feel that there is no real “projects” or “pieces”, but that everything is linked, that one thing can be decomposed, or recomposed “ad infinitum”. Despite this state of facts, there is a need to name things, to give some titles, to structure projects, and sometimes, to structure the whole art practice. So, categories are an effort in that way, but they are unstable.

Currently, the first 3 categories are referring to 3 subtypes of images:

  1. “Networks-images” are resulting from online data manipulations
  2. “Memories-images”, they reflect installations, environments, landscapes…
  3. “Projects-images”, they involve a type of relation between the picture and the spectator, let’s say.. in order to imagine other things.

A given picture can circulate between these categories, and these categories are also the basis for me to conduct a reflection about an image as a concept.

The 3 other categories, “square”, “circle” and “triangle” are formal, they refer to primary shapes which are often present in my works, so it’s a simple way to give another structure in the whole practice.

To conclude, about this point, I think that categories are also an object for art, a kind of medium, like colors or coding languages.

That’s all very interesting.  I  notice that your artwork seems to focus on distance, spatial relationships; making the eye follow lines or arcs between one space  to another.  What’s this about?

Max, that is a very interesting remark. I’ve never seen my work through this way. I think you open the door to another kind of categorization.  Maybe it’s about composition in the picture frame, and maybe it’s also about link between things and mediums in the whole practice continuum. I have to think more about this.

The Twitter Images very appealing. Could you explain how this work came about?

"Twitter Fire Forest" by Yan Le Guennec

"Twitter Fire Forest" by Yan Le Guennec

Twitter often conduct people to have and/or show to others a standard behavior, in order to be able to think that they are together, linked one to another, sharing a same time and (cyber)space. Twitter is not really creative in itself and does not, from my point of view, promote creative behaviors. So, to break the circle, I wanted to do something more creative with all these “tweets” considered only as text data, and because I’m very interested in landscape, I worked on these simple pictures. These pictures are looking for a link between separated worlds, a link between a global and standardized conversation and a world composed with landscapes made of data.

Nice.  It seems an excellent interpretation of the banal — the mundane.  In a way, I guess it’s kinda like taking the original aesthetic of pop and injecting it into a “tweet.”

What a curious thought.

Yann, thanks for stopping by.

It’s my pleasure.

"Twitter City #1" by Yann Le Guennec

"Twitter City #1" by Yann Le Guennec


See more of Yann’s work our Artist Galleries.  As well, be sure to visit Yann’s website by clicking here.

  1. […] A Chat with Yann Le Guennec, Art Digital Magazine, May 13, 2009. […]

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