Vincent Grenier
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Video Clip


(2000)      Video (Orig Mini DV) 4:30 min. Stereo

A humorous, digitally induced meditation on colors, motion and space from a few frames of road side fall panorama in upstate NY.

“It is interesting to think about Color Study in relation to the purely cinematic-photochemical nature of a work like Kurt Kren’s Asyl with its multiplicity of delicate composite imagery and overlapping seasons that create a feeling of all time being simultaneous. In Asyl, solar light cohabitates with the film - the emulsion receives singes and burns that inscribe the image and are reconstituted in projection as muted radiance. In Color Study, a cat’s eye like chatoyancy of splattered color, the precise mimicry of natural color combined with unnatural color fields, creates and breaks illusion. Color manufactures a kind of implied time lapse where it does not technically exist. A spatial jigsaw, combining the autumnal and the verdant. The invented light and color of the digital process creating an acid wash.”  -- Mark McElhatten

Screening: Toronto Int. Film Festival, Sept 2001; Nouveau Cinema Festival, Montreal; London Film Festival; International Rotterdam Film Festival Feb. 2001, Was part of a program of digital works The House of Instants curated by Mark McElhatten. Besides Color Study the program also included Aurora Street & Capturé, other digital pieces by Vincent Grenier. Program toured in the US at San Francisco Cinematheque, Chicago Filmmakers and in modified form (with Color Study only) at Lincoln Center’s Walter Reade Theater. Second prize, Black Maria Film & Video Festival; Donnell Film Library; Videarte Film Festival, Mexico City, August 2002; The Substation Guiness Theater, “Contingencies”, Singapore, June 2003.

Tate Modern in London, England, Nov 22, 2008. The program, Contrasting Surfaces is one of a two-part series titled "Colour Field Film and Video" and is curated by Simon Payne.

"The opening image of Vincent Grenier's Color Study (2000) shows a hillside of trees in autumn, covered in green, red, auburn and brown leaves. Changes in colour values slowly occur as patches of pixels begin to shimmer, replicating the seasonal transformation of the trees' leaves. The modulation in hue, which is almost imperceptible at first, becomes more dramatic as the piece develops. Washes of colour from the video spectrum sit over the hillside and dissolve into each other, taking the landscape image into abstract territories. Towards the end of the piece the original colours of the trees return, but one is left with a very different perception of 'natural' colour."   - Simon Payne, Notes, Tate Modern's Colour Field Film & Video Program/Contrasting Surfaces, Nov 22, 2008

Distributed by CFMDC, FMC


This page was updated on 11/20/08