Vincent Grenier
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2005, Video (Orig. Mini DV) 6:00 min. Stereo
Sound: Edited fragments from John Cage’s Credo in US performed by Markus Hauke & Mainz Percussion Ensemble.

“ For an example of an artist exploring the aesthetic possibilities of video to their fullest, one need look no further than Vincent Grenier and his recent work. He's not just "working in video. Vincent Grenier is a true video artist, and North Southernly is a subtle, complex study in textures and gradations of layered video imagery.” Michael Sicinski, Online Journal “The Academic Hack”

Changes of directions, in the wind, the edges, the shapes, a joyous and mesmerizing intrigue. Perhaps an other way to put it is to describe this piece as a humorous digital cine take on the long cultural history of the lessons left by the great Chinese painters of the 13th century for whom shapes and edges where often all one and the same.

On North Southernly’s use of sound :
One of my interest in choosing and editing the sound for this video was in its use as cultural reference, one that would bring different (hopefully humorous) readings of the unfolding images. The painterly and exalted nature of the video images, while unique, is part of the same cultural history as the musical quotations used in John Cage's piece. He also felt moved to challenge the tonal musical world of his predecessors by treating their music as rhythmic material for his percussive project.

Festival Selections / Curated Screenigs:
• Views from the Avant-Garde, NewYork Film Festival, 2005, Lincoln Center, NYC
• International Film Festival of Rotterdam 2006
• Black Maria Film & Video Festival, 2006, Director’s Choice, & Tour
• Onion Film & Video Festival, Chicago
• Images Film & Video Festival, Toronto, April 2006
• 23 Kassel Dodumentary Film & Video festival, Nov 2006
• En Plain Air, Short Works by Canadian Media Artists, Anthology Film Archives, NYC Dec 2006.

In many of my recent digital video works, I have experimented with color, sound and composition as expressions of cultural assumptions, in addition to, being expressions of phenomenological, visual or psychological events. Through sound image juxtapositions, digital manipulation and layering, this work attempts to deal at once with the propensity to mislead and eloquence of the recorded image. Images and sounds were chosen, or perhaps found themselves because they showed potential for this kind of interaction. Paying close attention to a re-mix of the artifacts, camera recordings make, I am particularly interested in re-contextualizing or at least rescue received ideas in the way formal structures and meanings have traditionally been created.


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This page was updated on 9/20/06