C A S P A R V I D E O A R T I S T

Born in 1963, in Saint-Brieuc. Living between Paris ¬and Brussel. He creates a sound and visual work, between visual and virtual, which explores continuously the real in the borders of the inexpressible and life up to borders of death.
He organises also exhibitions about the work of other artists choosen according to affinity or family of mind, with the gallery Up' Art he created in Brussel in 2006 with his partnair, Florence Bonnet

Met figures, best regards, influence:
- Journiac, Rancillac, Paul-Armand Gette, the artists who he study in the Paris I university. And also Shamaï Haber (he worked shortly with him since the end of his life).
- Decisive influence of the expressionism abstracts from Rothko (colour as " dramatic figure ", cogitation on human being, metaphysical questioning, picture absorbing the spectator)
- The music composers Philippe Hurel and Gilles Mardirossian, became partners of creation (powerful role of music: Caspar makes studies of violin and piano)
- He enters in the philosophy world with Geneviève Clancy, Sorbonne Professor, who supports its thesis on the aesthetics of violence with Giles Deleuze

Affirmation of character
He has choosen the patronymic of his father as artist name.
Reading of Boris Cyrulnik (discovery of impact strength).
Exempting help in his work with his friend the lacanien psychoanalyst Thierry Jacquemain.

Videograms
" Caspar‘s Videograms are so much proposals to find the birth of the poetic world in its gaseous, original and fantastical state. (.)
" Numerical video gives to the Artist tools able to satisfying its creative bulimia, its taste of baroque proliferation in multi-strata, at the same time he explores the distorsion relating to time as the application with rhythms assumed by Music.
The content of this creation seems like a form of lyric abstraction particularly in relation with a " painting in movement ".

The contribution of contemporary music in the creation of videograms:
For example, Gilles Mardirossian composes musics for his videos, " created from "Psophos" (Old Greek term used by Sophocles), noise non-articulate, to join "Phtegma", noise resounds and articulated sound.
These musics unrealized the world, offer its invisibility between the real and the imagination, with a view to give us back ontologically ; profoundly cryptic " - The work performed from Philippe Hurel‘s music is made in form of contributions which allow to spread the field of its investigations and to establish a continuum between musical creation and video creation, creating a way " of echoes of merged poems ".

Correlation between video creation and pictorial creation: Caspar don’t make video art in sense we think it today. He works as a painter, and treats "Compositing" as the equivalent of the stratifications of pigments of his painting.
Creation of videograms becames a barely explored animated dimension in painting.
" Caspar takes over nature to create a singular palette composed of rain, sand and trips... Nature is transfigured in a medium which confuses a painting of photons.The dialogue between painting and videos, in the movement revealed by this support, is established by visual nearness induced by these two supplementary writings ".

Extract of "Videograms" by Caspar.

Immédiatus on 2007
A new serial Immédiatus is born during a workshop in Napoli / Pompéi.
“In fact, I had not planned to leave serial of "Videotopos ", but the pictures recording made in Pompéi drew me away towards a new serial … An explanation of the name Immediatus choosen for generic of this serial : The instantaneous character, as a photogramme, the effect of sudden emotion which reveals the discovery of the vast field of ruins of Pompéi inspired me the topic of this new serial.
Immédiatus, it is always my approach of video-art. The process of time, and here, working in"Pompéi", is as an abyss of conjugation of intentions and subjects, thought and substance. Serial " Immédiatus " takes its sense only in the link on which I operate between these themes and Pompéi. It declines on three main axes: Vanity, already omnipresent on houses walls, in frescoes and mosaics of Pompéi which are covered.
Abstractive decoration procures me a fascination for the perfect imagination of a geometric world, and some elements of this decoration represents actuality and chimeras… I have not choosen Pompéi as subject of my work, but Pompéi bewitched me, by some “syndrome” of the conscience of past time, these terrible and splendid lives which preceded us, of their evidence crosses millenniums.
Pompéi,is for me the sign of life, this life which swarms in streets marked with the passage of wagons, with voices still resound in “échoppes” and of tools seem to beat our ears. This work on this unfailing source of inspiration is a way to live at the old time of Pompéi, as though never the Vesuvius had fixed it in a certain death. The death present and questionning in this work, as linked to the symbols reassuring us to be alive, faces become Icons, movie stars, in a visual language re-visiting this aesthetics as though I was a contemporary pupil of Pompéi artists.
" On a stay in Pompéi - Reflexion on my work " extract, by Caspar

Portrait Written by Pascale Lismonde
	Born in 1963, in Saint-Brieuc. Living between Paris ¬and Brussel. He creates a sound and visual work, between visual and virtual, which explores continuously the real in the borders of the inexpressible and life up to borders of death. He organises also exhibitions about the work of other artists choosen according to affinity or family of mind, with the gallery Up' Art he created in Brussel in 2006 with his partnair, Florence Bonnet Met figures, best regards, influence: - Journiac, Rancillac, Paul-Armand Gette, the artists who he study in the Paris I university. And also Shamaï Haber (he worked shortly with him since the end of his life). - Decisive influence of the expressionism abstracts from Rothko (colour as " dramatic figure ", cogitation on human being, metaphysical questioning, picture absorbing the spectator) - The music composers Philippe Hurel and Gilles Mardirossian, became partners of creation (powerful role of music: Caspar makes studies of violin and piano) - He enters in the philosophy world with Geneviève Clancy, Sorbonne Professor, who supports its thesis on the aesthetics of violence with Giles Deleuze Affirmation of character He has choosen the patronymic of his father as artist name. Reading of Boris Cyrulnik (discovery of impact strength). Exempting help in his work with his friend the lacanien psychoanalyst Thierry Jacquemain. Videograms " Caspar‘s Videograms are so much proposals to find the birth of the poetic world in its gaseous, original and fantastical state. (.) " Numerical video gives to the Artist tools able to satisfying its creative bulimia, its taste of baroque proliferation in multi-strata, at the same time he explores the distorsion relating to time as the application with rhythms assumed by Music. The content of this creation seems like a form of lyric abstraction particularly in relation with a " painting in movement ". The contribution of contemporary music in the creation of videograms: For example, Gilles Mardirossian composes musics for his videos, " created from "Psophos" (Old Greek term used by Sophocles), noise non-articulate, to join "Phtegma", noise resounds and articulated sound. These musics unrealized the world, offer its invisibility between the real and the imagination, with a view to give us back ontologically ; profoundly cryptic " - The work performed from Philippe Hurel‘s music is made in form of contributions which allow to spread the field of its investigations and to establish a continuum between musical creation and video creation, creating a way " of echoes of merged poems ". Correlation between video creation and pictorial creation: Caspar don’t make video art in sense we think it today. He works as a painter, and treats "Compositing" as the equivalent of the stratifications of pigments of his painting. Creation of videograms becames a barely explored animated dimension in painting. " Caspar takes over nature to create a singular palette composed of rain, sand and trips... Nature is transfigured in a medium which confuses a painting of photons.The dialogue between painting and videos, in the movement revealed by this support, is established by visual nearness induced by these two supplementary writings ". Extract of "Videograms" by Caspar. Immédiatus on 2007 A new serial Immédiatus is born during a workshop in Napoli / Pompéi. “In fact, I had not planned to leave serial of "Videotopos ", but the pictures recording made in Pompéi drew me away towards a new serial … An explanation of the name Immediatus choosen for generic of this serial : The instantaneous character, as a photogramme, the effect of sudden emotion which reveals the discovery of the vast field of ruins of Pompéi inspired me the topic of this new serial. Immédiatus, it is always my approach of video-art. The process of time, and here, working in"Pompéi", is as an abyss of conjugation of intentions and subjects, thought and substance. Serial " Immédiatus " takes its sense only in the link on which I operate between these themes and Pompéi. It declines on three main axes: Vanity, already omnipresent on houses walls, in frescoes and mosaics of Pompéi which are covered. Abstractive decoration procures me a fascination for the perfect imagination of a geometric world, and some elements of this decoration represents actuality and chimeras… I have not choosen Pompéi as subject of my work, but Pompéi bewitched me, by some “syndrome” of the conscience of past time, these terrible and splendid lives which preceded us, of their evidence crosses millenniums. Pompéi,is for me the sign of life, this life which swarms in streets marked with the passage of wagons, with voices still resound in “échoppes” and of tools seem to beat our ears. This work on this unfailing source of inspiration is a way to live at the old time of Pompéi, as though never the Vesuvius had fixed it in a certain death. The death present and questionning in this work, as linked to the symbols reassuring us to be alive, faces become Icons, movie stars, in a visual language re-visiting this aesthetics as though I was a contemporary pupil of Pompéi artists. " On a stay in Pompéi - Reflexion on my work " extract, by Caspar