Frédéric D. Oberland

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Invocation to light. The hands probe the surroundings and sink deeper into the abstract space of the projection. They seek contact... In a mixture of pure colors and crystalline sounds, the light responds to the call, imbues the face with clarity and transmits its message.

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Intervention on film with point and chemical products.

Spatial and temporal development of forms through birth, growth and extinction. Elementary figures adding to each other in order to create a complex figure. Geometry as a metaphor. Frame as a territory.

A young woman crosses a confined provincial town and its outskirts. Once at her destination, a strange mourning protocol awaits her.

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Making of the short film.

"The Game is Over": four words spoken by Georges Walker Bush, President of the United States, on a sunny morning of February 2003. A friend's television screen, economic war, spontaneous demonstrations, 'a camera. Helicopters. Gilles Deleuze. And the hope of a last smile.

Topographical video born from the meeting of a tunnel located at Hamburg (Germany) and Mictlan, the Aztec underworld. Circular and underground journey towards the dematerialization.

The white screen of the cinema projects the image of a film. However, as the brightness of the mind breaks through the night, in order to imprint this burst of light, it needs a black screen, becoming the never ending abyss of the imaginary, reflecting this spiritual enlightenment.

A meeting with an entity of gigantic proportions and multiple faces, ALTAÏR is of heavenly nature and invites us to dive into it. Work-landscape, cosmos to explore, you must have the soul of a geographer to venture into the folds of this universe with uncertain borders.

Ritual sacrifice and oppression of individuals by society. After Norman Jewison’s Rollerball.

Layers of colored matters spread in space. They transform and its movements let us suppose that there is an underlying law that directs the images. Ephese is thus a shape, continually mutating, although its essence remains the same.

The Tears of Minos

A cry of solitary anger emerges from the maelstrom. Detournement and flicker are used here to transcend the futile nostalgia of political symbols tainted by the society of the spectacle and its inevitable issue: boredom. Let the dead bury the dead and pity them ; for it is our destiny to be the first to enter into the new world.

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