Lucina Annulata

as close as possible / as far as possible

With tones of nostalgia and magic, a universe is revealed where personal and imaginary memories seems to become indissociable. VHS glitches distort misty and bright images, leading to a sentimental and mysterious narrative.

Parking Lot Attendant

By using outdated analog cameras and live capture overlay projections, Parking Lot Attendant is a formal exploration of glitches and image processing, shared between contemplation, insistence and irregularity. This video is based on the free interpretation of a poem about boredom and its environmental components, proposing a fixed and fragmented portrait of daily life.

death by fantasies by mirrors

In keeping with her usual exploratory, material approach to images and sound, Charlotte Clermont has created a mosaic film, shot on Super 8 and 16mm stock, which she develops by hand and then augments with coloured ink. The camera takes in objects, plants, a landscape, bodies, a stretch of water, the air, wind. The scenes are short, often framed as close-ups. This unfurling of furtive moments, enigmatic spaces and blazing light plays out like a series of disorientations, sustained by a soundtrack that is every bit as rich and sensual.

Where I Don't Meet You

Charlotte Clermont’s where i don’t meet you presents a series of moving-image tableaus – interspersed with poetic intertitles evoking a breakdown in communication – that takes as much meaning from the hand-processed Super8 textures of the images themselves as it does its ongoing tension between the abstract and the specific.

On Unshaped Dialogue

We can invent stories that use the figures we have encountered. Images that combine with those of the present and the past, from video synthesis to film. We can invent stories that use loved ones to recite texts about mathematics. They can also touch objects, with attention. Objects, without sleeping. Loved ones who don’t feel the same way. Those who read the compensation table of multiple exposures to get lost.

you're a plant whisperer and for me, it's enough

you’re a plant whisperer and for me, it’s enough studies the materiality of the analog image and the relationship between the musicality of the image and sound, in an attempt to create an introspective atmosphere. The video consists of two monochromatic shots generated using a VHS video mixer, each combining with a figurative image shot on Super 8 film. Treating colour as a conductor of emotions, all the images evoke inaccessibility, perfection and dream, in parallel with a meditative and transcendent soundtrack.

dream less

You enter. Galaxy addictions and a blow of erotic thoughts. Soft reality and harsh dreams; seashell hearts are clinically observed. You are a Director/I am a Negociator. My feelings are hiding behind five black velvet curtains while maybe you say you never day (dream).

How Flowers Never Became A Food Group

A poetic and fragmented construction of images and text suggests failure and disillusion about romanticism. Intense psychedelic colours characterize images of flowers, as if they were struggling while maintaining a playful tone. Feelings of ambiguity are evoked, oscillating between the notions of the possible and the impossible, as well as attraction and repulsion. The project is an audiovisual collaboration with experimental musician Alain Lefebvre.

Plants Are Like People

Maybe there was an opening, and they wandered through…

special dark glass somewhere

Darkness never emerges but it is present. Some kind of teenage wasteland feel, unexpected storms and inviting landscapes are intermeshed. In a bewitching atmosphere, proximity and distance are revealed through a thoughtful structure where images and sounds confound the imaginary and the real. Sensuality and desire are seen as forbidden, somehow, as if faced with a glass wall. Only by looking back do we find ourselves in a moon-like space/place.

Plant Dreaming Deep

In poetic images, Plant Dreaming Deep exposes the exhausting transitional phases of loneliness, insecurity and isolation. By means of analogue video synthesis, fine-pored textures and washed out veils of colour were created, which find a suitable complement in the pulsating soundscape of Emilie Payeur. Like misunderstood or unprocessed experiences, the traces of old video recordings flash through this retro-futuristic collage and the main protagonist, the flora structured by human hands, appears simultaneously connected with freedom and suffocation.