Gisèle Trudel is an artist and professor at the École des arts visuels et médiatiques, Université du Québec à Montréral. She was Director of Hexagram-UQAM, the Centre for Research-Creation in Media Arts and Technologies (2011-13) and is Co-Director of Hexagram- CIAM since 2012. In the fall of 2008, she co-founded with Thomas Corriveau and Michel Boulanger, a research group dedicated to the drawing and the moving image.
(With Stéphane Claude)
We co-founded Ælab in 1996. We focus on the alliance of documentary and experimental genres in a collaborative approach integrating individuals from different disciplines (artists, scientists, philosophers, engineers). We call our art practice ” immersive formalism.” For us, this means that a process of transduction is activated in the encounter between techniques and content that ‘spill’ or ‘carry over’ into one another and provoke movement. These are specific to situations that combines art and ecology, thereby linking nature and technology to human activity with intersecting vectors. Always changing, our practice is “between” forms that can also self-inform. Modularity in content can take shape through the various phases of a project, and vice versa. To do this, we play on juxtapositions, arrangements and the exchanges with media and with our collaborators.
Since 2006, we have created a series of works about residual matter. We have produced performative installations with LED light, digital drawing, sensors, multi-screen video and immersive sound, as presented in various spaces. The first piece, the cycle of performative microevents entitled light, sweet, cold, dark, crude LSCDC (2006-ongoing) is about wastewater treatments (gray waters), and was produced in collaboration with biologist John Todd and was presented in Québec, Germany and New Zealand. L’espace du milieu (2011), a media installation concerned with the atmosphere, the zone that supports life between Earth and Sky. This extensive and immersive video and audio installation also included a multi-projection of over 100’ wide dealing with atmospheric pollution, produced specifically for the Darling Foundry in Montreal. Forces et milieux (2011) is concerned with waste management operations at the waste landfill situated at Lachenaie, Quebec. Another project (Futur au présent, 2012), is a set of two large- scale photographs (30 x 4 feet) of fragments of glass and recycled plastic that were presented on the windows of the business district of Montreal. The new work, Milieux associés (in production) pursues the research on waste, upcycling and constructed environments and will be presented at PHI Centre in collaboration with the Biennale internationale d’art numérique (May 2014).