Multimedia artist Thomas David Guichard
After graduating from Nantes fine arts school in 2003, Tom has work at Bordeaux MCA and Almine Rech Gallery in Paris, before a 3-year stay in Tokyo, Japan. Later moved to Sydney, and Melbourne (AUS), until year 2011. Currently resides on the north coast of Brittany.
Tom Guichard grew up and pursued an artistic education in France, his early studies in music followed by a degree in sound sculpture, photography and new media. Since graduating with a Masters of Fine Arts from L’Ecole Supérieure des Beaux Arts de Nantes (France) in 2003, Guichard has worked and exhibited in various galleries across the world, including Narbonne (France), Tokyo (Japan), Dundee (Scotland), London (UK), and since 2008, throughout NSW, Australia. Brightspace is pleased to present his first solo exhibition of digital paintings and new media projections in Melbourne.
Highly skilled in both sound and new media technology, Guichard has developed a specific approach to his production process. Like a post-modern flâneur, he travels across, through, over and under the spaces he comes across in an urban/city environment. Where-ever his journeys take him, day or night, he records “found” sound and imagery with a video camera, though he has also been known to use his mobile phone camera. Later, rather like a collage artist, he samples bits and pieces from his visual and aural library and combines them with unique, computer generated soundscapes to create gently moving, almost hallucinatory abstractions of light and space.
Majoring in sound-sculpture as a student, and working with deaf people, the aural has prime position in Guichard’s new media works. On mentioning that he finds his visual material almost redundant until it has sound accompanying it, what is interesting is that his sound – once produced – has the same abstract and spatial qualities as his visual material. Together, however, the sum is greater than its parts: the psycho–spatial qualities of the sound imbues his imagery with an atmosphere that immerses his audience physically and psychologically in his abstract urban journeys, making them experiential rather than just visual.
But his imagery is like watching some extraordinary abstract dance. Bordering, as mentioned, on the hallucinatory, his visual material is composed out of what he describes as “painting with light”. Unlike his early twentieth century Impressionist forebears, who also used ‘the city’ as their subject but who painted the impact of the industrial revolution on subjects such as the increasing speed and alienation of city life (and new gas lighting), Guichard’s images are highly abstract postindustrial spatial new media works (made of light) that focus on (electric) light itself.
Flocons 2009, was filmed above and in the Paris Metro, but rather than recording the familiar public spaces in the Metro he entered normally inaccessible territory – hence his first frame ‘Interdit’, meaning “prohibited entry”, before he travelled underground and filmed the lighting in forbidden tunnels. Strangely, the sound accompanying this work was produced at dawn in Melbourne of the year before. Chimère 2010, filming mostly the sky, was produced in Melbourne on a single afternoon; Bazaar 2009, comprises abstract panels of computer-generated light.
© Kirsten Rann, June 2010