Michel Boulanger
L’art de la nuée

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Publié en 1996, le livre d’artiste L’Art de la nuée se présente sous la forme fictive d’un traité de dessin, s’adressant au dessinateur artiste et amateur. Sa méthode prétend que l’artiste qui s’y adonne sera capable de générer des nuées plutôt que de simplement en faire l’imitation.

A l’aide d’exemples et d’exercices, on y apprend étape par étape à forger ses propres nuées tout en s’instruisant des cinq grands principes qui la produisent :

- La nuée est multitude
- La nuée est irréversible
- L’affirmation tranquille
- La perte de contours
- L’incertitude

Published in 1996, the artist’s book The Art of cloud comes in the form of a fictional treatise on drawing, addressing the professionnal and amateur artist. His method claims that the artist who is doing it will be able to generate clouds rather than simply making imitation. Using examples and exercises, we learn step by step to build its own cloud while learning the five major principles that produce:

- The cloud is multitude
- The cloud is irreversible
- The claim quiet
- The loss of contour
- Uncertainty

Self published
ISBN
2-9804948-0-1
14.5×22.5 cm, 53 pages, black and white, 1996
Edition of 150
$50.00CAD

Available from the artist.

For the past fifteen years, Michel Boulanger’s creative process has been 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.