Nicolas Clauss on Big screen Concourse, Sydney, Australia!

It is with great pleasure that Videospread launches the new-year with Nicolas Clauss’ artwork. The programme Videography, made up of video captures from Fès and Ilôts, offers a contemplative break during which standard narration, expected linearity and duration through video are reviewed and reinterpreted.
The programme will be showcased on big screen Concourse, Sydney, Australia for four consecutive months.


It is after having discovered the potentiality of the new technologies and algorithms that Nicolas Clauss decides to shift from painting to digital art. Videos, photo, sound and textures mix in a new creation process in which machines and tools are not the focal point but are means serving the artist. He takes matter, works on it, plays with it, transforms it, destroys it and recomposes it, pushing the limits of painting. He questions video as a media, its visual values and duration, notably with Vidéographies aléatoires/Random Videographies. Videography: because the filmed media is studied and explored in its temporal and spatial dimensions (alike a map or a landscape). Random: because the modes of exploration of these videographies are based on free running algorithms. Video thus becomes a moving landscape, pictorial or not, without a beginning or an end, in which time is stretched.

After Fès, video-capture, 2013

Working from a static shot taken on a square in Fès (Morocco), in which many people appear; this piece questions time lapse in filmed images. The deconstruction of its linearity and the expansion of the videographic duration, allows the spectator to linger and access different moments and details of the work.

After Ilôts, video-capture, 2013

Originally, Ilôts is generative a sound and video installation designed by Nicolas Clauss and Uriel Barthélémi. A game of deconstruction and re-composition of the image, a moving pictorial landscape. Ilôts is also a sound installation visible on three screens or more in its immersive form, following a semi-random partition. The shadow of urbanity (speed, contemporary flows of data and information) becomes a filter of perception in an immersive electronic, impressionist, enchanting and fully surreal Nature. Calling upon a very flexible composition, sound and image constantly redefine their focal point and fragments of reality.