Guillaume Vallée

Jean-Claude Van Damme is back, and this time it's personal. Seventy-two photograms constructed from a 35mm trailer of JCVD's opus The Quest (1996). Re-examining conceptions of masculinity by deconstructing some of the images I watched repeatedly as a child.

This cameraless film is based on a recurent nightmare from my childhood, a night terror of a yellow specter riding a horse. The filmstrip has been destroyed by multiple expositions with a flashlight, hand-processing and a heavy noise soundtrack composed by Éric Gingras.

A short film by Guillaume Vallée, Dérapage 2023, selected in the Subjects To Defend program concocted by La Bande Vidéo. "This experimental animation is a metaphor for my anxiety about a world that is changing drastically and becoming more and more unstable. The film was made without a camera on 16mm film."

In this filmed diary, accompanied by magnetic resonance imaging and film experiments, the filmmaker makes her illness, multiple sclerosis, her own.

In order to create an organic and psychedelic imagery by the use of Un Chien Andalou's footage as source material, Guillaume Vallée has been playing on the 16mm film emulsion for months using different cameraless techniques. As a result, heavy multiple layered images are being shown as sparkles of decaying and dying memories. With the sound treatment of Jane L. Kasowicz, from the musical pieces that use to be presented with Un Chien Andalou, used synthesis sound in order to create a new piece. The soundtrack has been transfered into a magnetic tape in order to manipulate the sound in a physical manner in destroying the actual magnetic tape with magnets and direct interactions.

Guillaume Vallée explores and interrogates the partially erased sensory memory of his adolescent years in this cameraless animated short created using a 35mm trailer for Céline Sciamma’s feature film WATER LILIES (NAISSANCE DES PEIUVRES, 2007). This process of resuscitating long-buried experiences and forgotten remembrances derives from the materiality of the 35mm stock, the nature of the filmed images and Vallée’s painted and scratched interventions directly on the film emulsion.

Using a Super-8 roll, a shot of a woman walking on a dock repeats itself in effort to mimic decaying memories. The film is destroyed by decay and chemical intervention, then dubbed to VHS tape and manipulated live with a modified VCR.

This experimental autobiographical film, in which features the filmmaker's family, questions the emotion of the faded moment through audiovisual memory. The artist reappropriates on Super8 film the last moments of Hélène Lamoureux, his recently deceased grandmother. The memory image crystallizes a chaos frozen around the inanimate body.

Created on an optical printer from hand-painted 16mm film, this filmic object embodies a state of mind about benevolence.

By using techniques such as direct manipulation and optical printing, this work was meamorphosed from found fotage originally existing as a documentary film on Ancient Greece to it's existing form. This short pieces is the result of an independent study with Jean Théberge as my advisor. My approach was to subject the original film to constant experimentation as would an archeologist, peeling and re-layering scenes by means of collage, referencing the original images under multiple layers of psychedelic imagery

Hand processed cameraless film subjected to different homeade light sources. This is an obsessive exploration of a short scene that demonstrates a group of Roman soldiers who constantly cross the frame, accentuating the horizontal flow of movement.

The hands that dominate, that violate, that point, that blame, but also that caress, that offer tenderness, that accompany, that support. There are self-fictional and metaphorical elements, it speaks of our relationship to friendship and its power dynamics, what we become through our relationships, of this performance of virility, of this mask that we wear to fit in, of what we can do to make people proud, to rise in this toxic and horrible social hierarchy.

VHS, colour, 2018

No description available.

No description available.

Three act audio-visual collaboration between Guillaume Vallée & Harmergeddon.

Animated colors crazy to No Sound. This was one of the animations to be painted directly onto the film.

Ornately abstract textural imagery forged from hand-processed and hand-painted Super8 film painstakingly edited by Vallée allows Sharp's masterful and mesmerizing new music to occupy center stage while unfolding it into a sublime optical dimension.

Cameraless film – contact printed 16mm footage over Super8 raw stock – abstraction in the form of colourful flickers – Done for the OneTake Super8 organised by Double Negative.

Ephemeral traces of nothingness—rotoscoping farmers, crumbling churches, dying memories as hand-painted layers, decay & collage on film emulsion as incidental traces of nothingness. A work that is aware of its own mechanisms.