Canada / Duration 6m 8s / 2011
Terre blanche describes a man’s uneasy relationship to his work environment. A slow travelling shot of some deserted buildings challenge us, setting the nostalgic view of a traditional bucolic farm against the excessiveness of industrial farming methods that have developed. The pronounced whiteness of the sketched landscapes indicates the abyss of a world without life, the neglected land of an aborted project. The inner monologue of this man overcome by disillusion is conveyed through the poetry of Émilie Hamel and the abstractions of Caroline Gagnon.
This film was developed through Ferme modèle research program, a virtual universe produced through 3D imagery, a world that artists of various disciplines have been invited to construct and transform, using empirical methodology and allowing the work to develop through successive changes that become different versions, progressively defining the space, its duration, the nature of the events it produces and its meaning. Thus a farm setting was built without one knowing, everything that would happen there, all that would be shown, brought to life, animated there.
Michel Boulanger’s creative process is concerned with pictorial and graphic experiments, reflecting on how images are formed and the role they play in our definition of reality. Landscape, his favoured motif for constructing the real, is the perfect place for depicting mental representations that one makes of nature. Drawing is central to this multidisciplinary process that also includes painting and film animation. Over the years, the work has become a series of complex compositions in which the rules of representation highlight the avatars concerned with perceiving images. From this perspective, 3D modelling has become the preferred drawing tool for exploring generic representations of space.
In his approach to the moving image, Michel Boulanger is interested especially in the possibilities of writing linked to the continuous malleability of the animated 3D sequences, enabling, in particular, the empirical development of sequences without preliminary scripting. In his recent production, he explores the fact that an identical object modelled in 3D can be continually manipulated and transformed. Thus its movements can be modified, the same scene can be filmed from various angles and exposed to new lighting, and the objects in the composition can be covered with new textures and so on.