SINCHRONICITY

Eric Vernhes’ artistic practice is based on the creation of « temporal objects ». This concept, derived from phenomenology, qualifies devices endowed with an intrinsic movement that espouses that of the spectator’s consciousness. Eric Vernhes uses it in his work to create a magical moment: the moment when the spectator’s imagination, set in motion by the work, comes to be embodied in it.
Our body, our emotions, our ideas are constantly in motion. Confronted  with the movement of the work, a relationship of sympathy is created with it by synchronicity. This relationship with an object makes us aware of our materiality: Before anything else, and in the absence of demonstration of the existence of the soul, the spectator is a body, at a precise moment, in a given place, immersed in the contemplation of his own imagination that he projects in the work. A parenthesis then opens in the incessant movement that propels him towards his finitude. There is here an intrinsically, specifically human experience: the artistic experience.
Art often proposes questions. The work of Eric Vernhes proposes rather an ambition: to conquer an ever higher level of awareness of ourselves, our bodies, the world and time in order to perpetuate, despite all the challenges, the experience of our humanity.

BIOGRAPHIE

After a degree in architecture directed by Paul Virilio, Eric Vernhes worked in film production alongside Anatole Dauman (Argos films). The latter gave him the opportunity to write his first fiction and documentary projects. Taking the side of cinema as a global medium, he practices writing, editing, directing and sound creation within his production company. Looking for more intuitive modes of expression than in conventional audiovisual, he practices experimental video, then implements computer tools that allow him to condense the phases of editing, image/sound processing and broadcasting in a single step. Surrounding himself with improvising musicians, he creates stage performances where the creation of digital images and music proceeds from the same moment and the same gesture, either in interaction modalities, or thanks to the mastery of image improvisation, made possible by the development of specific interfaces. The challenge is to approach another quality of cinematographic writing elaborated under the dictatorship of the moment and intuition. He also works on theatrical projects in which the image is integrated from the writing stage, as well as for the rock scene. Since 2008, he has been creating kinetic, visual or sound devices and installations whose behaviors he programs according to auto-generative, interactive or hybrid logics. He has thus developed a multidisciplinary artistic path tending towards a resolutely humanistic approach. The digital processes he uses are extracted from their technical context to be put at the service of a timeless discourse inspired by literature and philosophy. Eric Vernhes thus makes anthropoid creations exist: the movement of the works themselves, while espousing that of our conscience, also seems to espouse our own humanity and gives us the spectacle of it.
His work is shown in international exhibitions, art centers and foundations. He also teaches technological arts.

Represented in Paris by the Galerie Charlot.
Private collections: Artphilein Foundation, Lugano – Stuart Frankel, Chicago – Coleccion BEEP de Arte Electronico, Barcelona…