In the 90s, the first graphic workstations allowed faster visualisations and calculations. We were in the habit of long calculations, about one hour by image. By keeping the same patience with our first station "Apollo" we were able to increase the complexity of the images, and to begin to play with the profusion of the data. Having a character capable of animations, some plants and numerous databases of face, we began to endow the databases with a kind of rough behavior, made of animations and deformations.Our program could manage this set without limit for the number of databases, a profit of its rustic character, just with a choice of duration for an acceptable calculation.

We so began a period of digital baroque.

90s: A computer art baroque
The body, which comes of the 80s, is used to give an effect of multiple. Legs have served to build a livened up scenery. Two other films " the gros bouillon" and "la grande roue" prolong the same principles of construction.. Faces find another role: sometimes carrier of distance and nostalgia, sometimes carrier of violence and disorder. With this trilogy end our animations of pure synthesis.

Until there, our use of real pictures was restricted to the texture effects. With the new modellings, the difference between the real images and the computer images could be reduced until to be imperceptible. We decided to explore this ambiguité, what we made thereafter, with partially hybrid animations, in particular "La Classe" and "Avec le temps".

1991 la porte d'Indodondaine
Three animations in association : "Indodondaine, le Gros Bouillon, la Grande Roue", constitutes a trilogy in this spirit of artistic experiments. They have been realized in collaboration with Marie-Hélène Tramus. The first film Indodondaine, inspired by the art of India, builds an environment constructed essentially with a single livened up body.
imagedu Gros Bouillon