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ution. Previously this approach would have been meaningless
to me, my creations were justified online. Today they
can exist on Internet and be prolonged elsewhere, in the
form of installations, prints... This traveling from one
medium to another challenges the idea of what Net art and
the hybrid identity of digital art are today.
L. S: Preserving the works is also a stake in these new incarnations
of your work, such as digital prints or recording navigational
trajectories.
R. D: Online work is infinitely fragile and fleeting. Some of
those created before 2000 are hard to access, others have
vanished. Both the software and the navigators used evolve
so quickly. Of course the need to leave a mark inspires these
recent productions.
L. S: You would describe yourself more as a “Net plastician”
than a Net artist.
R. D: Since first experimenting online work, I’ve always maintained
a classical plastic artists approach. In diverting the
formatted tools (image, sound and video processing software),
there was a certain elation in finding the flaws, appropriating
the code, and literally forcing entry. Integrating
mistakes and bugs is materializing this appearing/disappearing
process, typical of the Internet flow. Through
exchanges with the Internauts, was the desire to grasp a
piece of the Web in the form of collective memory. Today the
Net seems to me more like a thinking machine, triggering
ideas and resources. Some projects may begin online and
then evolve, transiting on the Web, ending up for real. The
Net is a matrix that we must nourish, where we can feed,
and then again exit...
...................
1. Mail art: artistic activity using the postal distribution. It’s the creation in 1962 of
the New York Correspondence School of Art by Ray Johnson, that launches the
movement. Conceptual artists (On Kawara) and members of Fluxus are particularly
active members. Various things are sent by post – messages, collages, objects,
directives, poems, information on the work in progress or in preparation – and
may be addressed to known or unknown correspondents, from whom which an
answer is not necessarily expected for multiple reasons, ranging from the desire to
establish a connection outside of the art market, to a concern to analyze or pervert
the postal and artistic institutions. J.-M. Poinsot, Mail art, communication à distance,
Concept, Paris, 1971. H. Fischer, Art et communication marginale, Balland,
Paris - Genève, 1974-1981.
2. http://www.stelarc.va.com.au
In 1997, Reynald Drouhin attended a workshop with Stelarc during his residence
at the University of Carnegie Mellon (Pennsylvania State).