Alain Galet, multimedia artist.

Digital and traditional art creations

Pixel’s director.

    My goal is to built bridges in between the "classical arts", the more "contemporary arts" (video, movies, digital images), new technology and science. I use for that purpose, all the resources of the digital image, still or animated, without denying or hiding the inner pixel's quality.
    My background is very much multidisciplinary:
-A sculptor in all its aspects (ornament modeling, wood and stone carving, working on the "Cour Carrée" Louvre Museum's restoration, on the 17th century facade; Styrofoam carving and polyester resin sculpting for sets at the Operas "Garnier" and "Bastille" in Paris…),
-A painter in all the discoveries (making copies at the Louvre Museum, studying at the Beaux-Arts school in Paris, internships to study the old masters techniques…)
-And also a designer for theatre (lighting, costume and set designer as well as directing in the U.S.). All these experiences, always mixed with the passion of photography, have set the ground for my future creations: a sphere to explore where everything is merged to reach one final goal, digital images.
Since then I blossom working in the computer image field (silver prize at the STEC festival, Tokyo for the computer animation Nostalgia and numerous exhibitions)    
    My universe is becoming more and more rich, using all the technical possibilities, not only to create a "total" or "wholesome" art, but more the total of my enthusiasms, of my aspirations and inspirations. Therefore I am looking for a complete enhancement of the pixel, sensual and rich material, that is the texture and the component of my artworks, being used to create the aesthetic world which obsess me and inhabit me .For that reason, the quest for new materials or supports to present my photographs, either close to the TV monitor image (transparent photographic film) or to the movie image (photographs printed on white fabric like a movie screen) amplify the impact, on the viewer, of this universe totally recreated and "pixeled", of these staged scenes.
    The sets are made with defaced or upside down elements; a patient and refined work is done on colors, working on shades, hues, lights, shadows, on textures and on the reworked and reinvented light too. Models and persons are chosen to live and carefully fit in these worlds to be built, and then sublimated, enhanced by the treatment done on computer.
     I am exited to go ahead in the exploration of this couple, human being/imagination versus the  machine/construction, instinct versus science to reveal large section of my memory and my sensibility.

    I begin to think about a picture by dreaming, by fantasying, by going through visual and fleeting sensations, influenced and tinted by more future realistic possibilities of the concrete realization Thus, through a slow development, a dominant idea slowly emerge to the surface of my conscience, carrying in its trail dreams of costumes, lights, sets, final materials to print on…So everything come to place little by little, and then suddenly, like a swimmer coming from the depths and reaching the surface, the idea explode in a dramatic breath, asking for its realization. Then submitted to its energy, I must chose a model, a place to shoot, an atmosphere to create… The shooting, entirely digital, a mix in between extreme precision and unpredictable events, goes on in very intense 3 hours sessions, frantic races to steal the image to the reality. Then the bloodless sensibility goes digest its visual prey. After recovering certain serenity, I begin to go through the pictures, these murmuring and whispering individually to me theirs own romance.
    Then comes a long process. I work on the computer to give birth to the sparkles of an interior fire, a firework that want to burst out on the screen: coloring, an important part, is meticulously done to emphasized the living beauty of the subjects (colors are important to me because they revitalize the picture; in the nature things or living being that are dying loose theirs colors, becoming grayish or dark.) I play with the infinite combinations that exist in between the all range of colors, led by intuition. I try then to enrich the emotion, to find balance and serenity, using all the shades of the colors. This is also why I am always trying, when I have an idea, to think about the support on which the picture is going to be printed: color is primary light, so the support should play as much as possible with the light. The inner quality of color is a resonance of a dream, a light that sing and shine to our eyes, and being combined, give a sense of depth. I want the color to become a real colored and luminous power with numerous tensions so II work on the inversion of light and shadows or negative transformation, I search of colored harmonies and textures, layer by layer, slowly by entire days of work to make the so desire image appearing suddenly……….