Yannick Koller
Yannick Koller about Callicinegraphy
Reflection, 2002-2003, color, silence, 4'43
Lisboa, 2002, Super 8, color, silence, 6'12
Haizhu Square, 2007, color, silence, 4'30
Statement
"The knowledge of Chinese culture and practice of Chinese calligraphy, related to my personal background, founded my cinematographic approach that I call by the neologism “Callicinegraphy”. This original concept, at the meeting point of two cultures (Chinese and Western) and two arts (Chinese calligraphy and Cinematography), revolves around a central value in Chinese culture: the Qi or “energy-vital force”. This very value constitutes a driving force and an active principle of my creativity. In my cinematographic work, it allows me to imprint the vibratory qualities of reality on footage.
In fact, my artistic approach questions and apprehends the world according to an intangible though fully present perceptive mode that allows me to capture the rhythmic vibrations of objects and space. These perceived forces – matter being but a crystallisation of energy particles – constitutes my primary working material and concept. They are at the origin of the driving tensions and the rhythm of my artwork, whether it be photography, film or installation.
Cinematographically speaking, what interests me in such perceptive phenomena is what comes about in the unforeseeable and in one’s inner openness towards the dynamics of space: a binding reality experience, each time inaugural, with the possibility of perceiving things in their vibratory network. As a consequence, my films shift from the conventional “start-development-end” curve. Instead, they are driven by a flow of rhythmic vibrations that circulated and guided my choices and technical adjustments while shooting. Therefore, the rhythmic structure of images - at times percussive - are fully experienced in the silence of my films. Sound composition figures in some of my films but then, I view the relation between image and sound to be independent of each other.
Finally, the film operates as a transmitter or adapter of this sensorial experience by conveying its overall process, the recorded images being fully rendered to the public (with no post editing).
What I deliver through my artistic work is a sharing of this experience, as approaching reality in its depth – beyond immediate appearances and within that that goes beyond us – also allows one to go deeper within oneself."
Yannick Koller
"The knowledge of Chinese culture and practice of Chinese calligraphy, related to my personal background, founded my cinematographic approach that I call by the neologism “Callicinegraphy”. This original concept, at the meeting point of two cultures (Chinese and Western) and two arts (Chinese calligraphy and Cinematography), revolves around a central value in Chinese culture: the Qi or “energy-vital force”. This very value constitutes a driving force and an active principle of my creativity. In my cinematographic work, it allows me to imprint the vibratory qualities of reality on footage.
In fact, my artistic approach questions and apprehends the world according to an intangible though fully present perceptive mode that allows me to capture the rhythmic vibrations of objects and space. These perceived forces – matter being but a crystallisation of energy particles – constitutes my primary working material and concept. They are at the origin of the driving tensions and the rhythm of my artwork, whether it be photography, film or installation.
Cinematographically speaking, what interests me in such perceptive phenomena is what comes about in the unforeseeable and in one’s inner openness towards the dynamics of space: a binding reality experience, each time inaugural, with the possibility of perceiving things in their vibratory network. As a consequence, my films shift from the conventional “start-development-end” curve. Instead, they are driven by a flow of rhythmic vibrations that circulated and guided my choices and technical adjustments while shooting. Therefore, the rhythmic structure of images - at times percussive - are fully experienced in the silence of my films. Sound composition figures in some of my films but then, I view the relation between image and sound to be independent of each other.
Finally, the film operates as a transmitter or adapter of this sensorial experience by conveying its overall process, the recorded images being fully rendered to the public (with no post editing).
What I deliver through my artistic work is a sharing of this experience, as approaching reality in its depth – beyond immediate appearances and within that that goes beyond us – also allows one to go deeper within oneself."
Yannick Koller