Michel Moyse is an artist, teacher and co-founder/director of the Center for Digital Art, a non-profit organization dedicated to providing educational resources and promoting art in Brattleboro, Vermont. Michel’s artistic career spans nearly 5 decades and includes works on paper, glass, plastic, film, single and multi-channel projections he calls ‘motionpaintings’.
This site is specifically dedicated to recent artwork and ‘motionpaintings’. To see older artwork (paintings circa 1970s, 1980s, oils on glass & acrylic), experimental films, and collaborative work, visit michelmoyseart.com. (to go directly to older ‘paintings’, click here)
To see the works “in motion”, go to Motionpaintings (Gallery Simulations), Motionpainting Portraits, Major Motionpaintings, Erotic Geometries, Domestic Loops, (i.e. other pages) or any of the sub-categories.
‘Motionpainting’ is a word I use to describe much of the work I’ve been doing over the last two decades: by it I simply mean artwork that incorporates duration yet remains rooted in ‘stillness’. Because current technological limitations customarily impose the necessity of viewing these works either as projections in a darkened room or on flat screens, it’s easy to orient viewing expectations associated with film or animation. In spite of the fact that these works are time based, they are not narrative in content or form. As in traditional painting, they have no beginning or end and are meant for continuous viewing. The new province of this art may in fact be duration without development – or, put another way, aspects of ‘now’ in duration.
As of this writing, there are three main options for exhibition: Projection (see “Linda Portrait” below), monitor (see “SlamLink, 2008” simulation below), and ultra short-throw projection (see “John Serkin” Studio Projection below). Although each option has pros and cons, any choice entails a specific context that orients the viewer in habitual expectations. Large screen projection requires a darkened room and suggests a “film” experience with attendant narrative development. My work has none – although “narrative” elements may be present, there’s no “development” in duration. A large TV monitor, on the other hand, can be seen in broad daylight, and this suggests a viewing experience analogous to that of seeing paintings in a museum or gallery. However, existing TVs or monitors come with predetermined aspect ratios, and my work often disregards traditional configurations. Alternately, the ultra short-throw projection option offers a compromise solution because the projected image can be seen in daylight and frame size is determined by the original file. Nonetheless, the image remains relatively small (currently, the largest projection diagonal is 120 inches). One last option not hitherto mentioned is the LED Screen. This is, however, an expensive option.
These works are meant for large screen projection (suggested 16 ft. diagonal or more) or ultra short-throw projection and continuous viewing (i.e., looped). Unless otherwise noted, audio should be played at a low level (as ambient sound).
A note about aspect ratios: many of my motionpaintings are non-traditional in aspect ratio. This means they’re best exhibited using a projection screen sourced by a computer or seen on an Ultra Short-Throw projector. Viewing any motionpainting that is not 16X9 on an HD monitor (or 4X3 if original is SD) will distort the image or add unwanted borders.
No doubt future technological developments will allow displays that can be seen in larger formats and broad daylight. For a simulation of what this might look like, click on Gallery Simulations.
For exhibition and maximum resolution please obtain original digital file from the artist