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 ‘motionpainting’ and recent artwork. To see older artwork, experimental films, and collaborative work, visit michelmoyseart.com.
‘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 impose the necessity of viewing these works either as projections in a darkened room or on LED 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. For a more in-depth exposition of my personal approach to ‘motionpainting’, please click on the following links: Michel Moyse Discusses His Art #1, Michel Moyse Discusses His Art #2, Michel Moyse Discusses His Art #3, Michel Moyse Discusses His Art #4.
These works are meant for large screen projection (suggested 16 ft. diagonal or more) or large wall-mounted monitor (or videowall) or ultra short-throw projection and continuous viewing (i.e., looped). Unless otherwise noted, audio should be played at a very low level.
As of this writing, there are three main options for exhibition: Projection (see “Linda Portrait” and “Self Portrait TIBETAN” projections below), monitor (see “SlamLink, 2008” simulation below), and ultra short-throw projection (see “Carol Wincenc Portrait” 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 100 inches). One last option not hitherto mentioned is the videowall. This is certainly an option because it allows for viewing in broad daylight and can, depending on resources, offer a large surface. It is, however, an expensive option.
A note about aspect ratios: many of my motionpaintings are non-traditional in aspect ratio. This means that they are 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 necessitate distortion or unwanted borders.
Screen technology keeps advancing, and no doubt in the near future developments will allow for displays of motionpaintings that can be seen in large format and broad daylight. For a simulation of what this might look like in a gallery or museum setting, click on the link Gallery Simulations.
For exhibition and maximum resolution please obtain original digital file from the artist.