BIO
Since 1978, Miguel Chevalier has focused exclusively on computers as an artistic tool of expression. He quickly secured a spot in the international scene as a pioneer of virtual and digital art. Miguel Chevalier continues to be a trailblazer, and has proven himself one of the most significant artists on the contemporary scene. Miguel Chevalier’s oeuvre is experimental and multidisciplinary. His sources lie in the history of art and his work explores recurrent themes such as nature and artifice, flows and networks, virtual cities and ornate designs. In the 1980s, Miguel Chevalier began tackling the question of the hybrid and generative image. His work has been exhibited worldwide at K11 Art Foundation, Shanghai (2014), Centre Georges Pompidou, Paris (2000 – 1994 – 1988), Art Paris, Grand Palais, Paris (2014), Palacio de Bellas Artes, Mexico DF (2013), Mis (Museu da Imagem e do Som), Sao Paolo, Brasil (2010), Metropolitan Art Museum, Tokyo, Japan (2000), Museum of Contemporary Art, Tokyo Japan (1996), among others.
OBRA
Miguel Chevalier
Fractal Flowers, 2015
Generative and interactive virtual-reality installation
Softwares: Cyrille Henry and Antoine Villeret
Technical Production : Voxels Productions
Courtesy: Ventana Contemporary Ibiza
Fractal Flowers is a new generation of virtual seeds and gardens. A generator produces gigantic beautiful fractal flowers of different sizes, colors and shapes. Besides this, work leans on a generative and interactive principle, creating autonomous virtual seeds, growing, opening out, fading and reacting to the audience. Beyond their marginal beauty, Fractal Flowers with their graphic forms, almost mathematical, reveal freedom since each plant is unique through their abstraction and is never the same. It reveals stylized flowers, through an extreme geometry in their shapes. We are in front of an intriguing vegetal universe that evolves on the frontier between mineral, animal and robotic. Through atypical shapes, amazing colours, others artificial paradises are created.
Flowers have on the one hand a real monumentality with its geometrical shapes, and on the other hand an evanescent aspect, when after some seconds, the flowers evaporate in the air like a cloud becoming blurred progressively. The gigantism of these flowers which cast a glance at the visitors, look at them according to their moving, create an enigmatic dialogue with the visitors. Flowers stoop like a bow in order to welcome the public in this mysterious virtual garden, then display their most beautiful colors and shapes, merged on colored backgrounds, lean out as to observe close to our reality, to disappear finally out of sight, out of our fascinated look, touched by the living relation with a disappeared virtual object.
