Philippe Boissonnet endeavored to showcase the volatility, the ambiguity, the diversity, the elusiveness of our images of the world. He gives us a brilliant demonstration of this, sometimes using drawing, sometimes photography or sculpture, and a lot of holography, the most complete and yet the most uncertain technology…”. (Hervé Fischer, 2017)

PAYSAGE-MONDE IV (Déconstruction)
2024

Digital printings interlaced on lenticular material . Acrylic film mounted on Alu-Dibond. 28 x 28 inches (71 x 71 cm). Edition 2/2. (Alter Ego production).

Print on lenticular acrylic media. Interlaced scans (bubble jet prints) first created from deconstructed images of the geopolitical terrestrial globe. The source images are dating from research done in electrography at the Canon Center of Montreal in 1992. Interferences and clashes of portions of continents one within the other. Enhancing of the instability of our conventional image of the world.

PAYSAGE-MONDE III (Faire face)
2023

3 digital printings on lenticular acrylic material . Mounted on Alu-Dibond.

18 x 105 inches (46 x 266 cm). Edition 1/1. Alter Ego production).

This triptych in lenticular photography comes from capturing ephemeral luminous moments, facing a rocky wall. Confronting both is a way to draw attention to the idea about ​​the fragile beauty of our natural environment and, simultaneously, to the importance of facing positivly its possible disparition in our collective contemporary feelings. In this metamorphic composition, I interlaced photo images obtained by projecting solar light, diffracted and polarized, through a dichroic film. See also the video-poem à https://youtu.be/J5DvXN6lErk

(Created during Nat Art Residency, in Tagle, Spain, 2022- © Philippe Boissonnet - Support technique: Alter Ego Productions, Laval, Qc)

PAYSAGE-MONDE II (Monitoring)
2022

Digital printing on lenticular acrylic material (processed by interlacing). Triptych mounted on Alu-Dibond.

28 x 114 inches (71 x 229 cm). Edition 1/1. (Softmotion production)

A plastic terrestrial globe, water bottle and light were used to create the source images of this triptych, in scanography. The source prints were made at MIDE (Cuenca, Spain) in the 1990s, then digitally interlaced onto a lenticular acrylic support (2022). The visual texture obtained is reminiscent of my “Copy Art” years while being linked to holographic effects. The lenticular process, with its slight illusion of depth and its effects of metamorphosis, creates a disturbing and fascinating perceptual ambiguity. This triptych highlights a world in constant transformation, traversed by a fascinating but disturbing luminous energy, which delivers the viewer to a perceptive disorder of fragile beauty.

Series HOLOSCAPES (Caring) …
2023

Ink-jet prints on acid-free paper and/or back-lit film (format ratio 16:9 )

How to re-enchant nour glaze on this polluted environment, how adding light and perception of purity onto it ?

Series HOLOSCAPES (Illuminating the World) …
2022

Ink-jet prints on acid-free paper (345 x 112 cm ou 136 x 44 po)

Photographic series from a creative residency (Nat Art) carried out in Spain (Cantabria) in June 2022. Dichroic and holographic diffraction films were used to create these images with solar light. Reveal the presence of light in our natural environment, today so altered. My photo series “Holoscapes” are like a kind of antidote to our era of global eco-anxiety. Captures of ephemeral luminous moments which focus attention on the encounter with what is fragile and transitory, in a seemingly solid and permanent world.

See the intent, photos and video-poem on their web site at https://www.circleproart.com/en-gb/philippe-boissonnet

HOLOSCAPES (Revealing the World) Series
2018 - 2020

Digital inkjet prints on Verona paper (limited edition 3/3 - 20 x 20 pouces (51 x 51 cm)

Photographic captations from holographic optical elements (HOE) placed in outdoor spaces so as to diffract sunlight. “HOLOSCAPES (Revealing the World)” is an attempt to re-enchant the way we look at our natural environment, even at a small scale. Through this simple gesture, I create small, ephemeral and elusive luminous phenomena allowing the appearance of subtle rainbows depending on the position of the sun. This series marks the start of a new art research closer to the terrestrial world, further from satellite images I was used to. How to enhance the fragile balance of the world which lies at our feet and before our eyes, so that we not forget to coexist despite all the surrounding eco-anxiety.

THERE WAS A GARDEN …
2022

Temporary installation of printed flags presented along the Parc Lambert (Trois-Rivières, Qc). A project sponsored by Fondation Trois-Rivières Durable and Culture Trois-Rivières. Terrestrial globes have been digitally printed on 15 fabrics while the 3R acronym (Reduce-Reuse-Recycle) has been printed by wood engraving process. This installation presented in summer 2022 at Parc Lambert (Trois-Rivières, Qc) pays tribute to a terrestrial habitat to be proudly protected globally. .

PAYSAGE-MONDE I (Polarization)
2021

Photodigital print on cylindrical lenticular material (interlaced images at 40 Lpi)
Mounted on Alu-Dibond. 23 x 36 pouces (25 x 38 po. framed). Édition 2/2 (Production AlterEgo)

This animated lenticular photograph uses the evanescence and visual instability of the process to stage with ambiguity the conventional and limited point of view of our cartographic representation of the world, seen from the historical domination of the north over the south. The composition is the result of a pairing between two photographs of a sunny sky created from a holographic film of optical diffraction (HOE) and a linear drawing of the planetary planisphere. By superimposing this mapping on the holographic diffraction images, I repeated and inverted this shape twice: thus, in one of the final images used for the lenticular interlacing, the northern hemisphere is placed at the top (north). In the other, the hemisphere is reversed, upside down, and takes the place of the southern hemisphere.

Exhibition view at CNE, Jonquière, Qc (january-april 2022)

LIAISONS POLAIRES / Polar Liaisons, Series
2012

Three inkjet digital prints on vinyl canvas
86 x 106 cm each, ed. 1/1

Photo-performances in collaboration with Lorraine Beaulieu

L'ÉTRANGE LÉGÈRETÉ DU MONDE (II) / This Strange Lightness of the World (II)
2012

Photo installation in an urban public space, 15 inkjet prints on fabric (flags), 15 brackets and one inkjet print on adhesive vinyl (on the ground). Presented within the Montreal subways’ undergrounds (Complexe Guy Favreau), as part of Montréal Art Souterrain.

Exhibition: L'ÉTRANGE LÉGÈRETÉ DU MONDE (installations photo-vidéo-holographique)
2010

A selected pieces at Maison de la culture Côte-des-neiges (Montréal) all related to the fragile geopolitical representation of the World

TRAVERSER LE MONDE / Crossing the World (I, II, II)
2008-2009

Inkjet photo prints on canvas and on backlit film, black Plexiglass and neons
Photograph on canvas: 100 x 76 cm

Collection of the Musée des Beaux-Arts de Mont St-Hilaire, Mont St-Hilaire, Qc

LE DÉSENCHANTEMENT D'ATLAS / The Desenchantment of Atlas (Diptyc)
2007-2008

While I was on the Antarctic Peninsula (Marambio Base, 2007), I truly felt myself on the extreme edge of the world and images of the mythological character of Atlas came to mind. All of these photographic images forge a metaphor for how the space of our collective imagination is currently occupied (or should be occupied) by the awareness of our planetary limits from one pole to another, where global warming currently has the greatest impact.

Inkjet prints on canvas, ed. 2/2

CP/TOMS - TOTAL OZONE for Jan. 3
2006-2007

This series of photographs have been produced with the complicity of Andrea Juan, while being at Marambio Argentine Base with its researchers crew in geoclimate. Those portarits are related to how we should be impacted in our counciousness with each parts of the World and more particularly by our human activities on t6he poles. This art piece is a preview about my own experience of Antarctica, while being there at Marambio (2007).

Eight inkjet prints on canvas and graphite wall drawing
Installation: 240 x 240 cm (61 x 91 cm each), ed. 2/2

Collection Arte en Antartida, Buenos Aires, Argentina

O-ZONES Series
2005 - 2009

Inkjet prints on Hahnemühle paper, ed. 3/3

LE SEPTIÈME JOUR / The Seventh Day, Series
1992-1995

Seven colour photographs (from original canon laser photocopies) mounted on Foamboard. Unique print (1/1). Wooden framed.
Approx. 271 x 142 cm

Those luminous images were created while an artist-in-residency stay at the Museo Internacional de Electrographia (Cuenca, Spain - 1992). I then superimposed, on a Canon Laser photocopier glass, a transparent inflatable globe with a projection of an incandescent light. Performing on top of the cover glass changed the reading of the colors of the neon during the direct printing of the image on paper. Afterwards, silver-processed photographs were then made to create this mural. For this piece, I purposely made a reference to the Biblic creation of the World, in seven days. Nonethless, I wanted to suggest an inversion between beginning and ending of the sequence. A possible disparition towards a kind of Big Bang…

IL SERAIT UNE FOIS...
1993-2021

Installation 1993 (version 1): mirror, 2 tripods, light and colour bubble-jet photocopy mounted on Plexiglass

Installation 2021 (version 2): mirror with holographic grating film, 2 tripods, DEL lights (red, blue, orange) and colour bubble-jet photocopy mounted on Plexiglass
Approx. 200 x 300 x 180 cm