Updated: Apr 3, 2022
Antoine Lortie was born in Quebec in 1989 where he lives and works. He completed a bachelor's degree in visual and media arts at Laval University in 2013 and a master's degree in painting with honors at the Royal Academy of Fine Arts in Brussels in 2016. His work is part of the CPOA collection of the National Museum of Beaux-Arts du Québec as well as several private collections in France, England, Belgium and Eastern Canada and the United States.
Hyper Phaneroid Hyper Phaneroid is a project that includes several conceptual modules and uses 3D animation and digital pictorial production to extend the properties of the ontological field into the media aesthetic field. I will use several conceptual modules that require a short description;
Personal art; Due to recent developments in Canadian public cultural institutions over the past 20 years, artistic work has been guided by interests external to the artistic discipline and to the artists themselves. The themes of cultural mediation and intervention in the social field have replaced themselves in order of priority in the agenda of the funder and continue to eclipse the immediate regime of intuition of the artist. In this regard, with the aim of reversing the engine, personal art is indicated as a field of work that puts the inner world of the artist as raw material for itself, rather than the raising of external problematic for itself. Personal art is simply understood as an artistic activity that individualizes a hermetic praxis; a bubble. The symbolic regimes that figure there take all their sources from personal experience and are used to intoxicate through amusement rather than through reason which seeks coherence. When you make art for yourself, without opening up to others, you open up to yourself. It is a pivoting of the axis of interest. However, it is important to note that the roots of contemporary artistic practice have not been evacuated.
Princess Institunia: Since 2021, I maintain a disclosure of an inner self-dialectic that I personified Princess Victoria Institunia. It is the personification of the synesthetic intuitive field, thus proposing as well as the voice of intuition to a texture, a will, a character and also a humor. The project follows in the footsteps of an artistic avatar such as Laturbo Avedon and the virtual influencers, but yet starts where the ontological space of the avatar ends. Princess Institunia is a virtual person. It is through creation in the media that a vector of intuitiveness uses the new provisions of expression to become in use. In the coupling with the personal field, Princess Institunia extracts itself from the usual interest of projects such as Laturbo by making art for oneself and by oneself. This field of research is in rapid development and will greatly benefit from the exchanges during the project. With these conceptual modules that reorient the usual creative modalities of the creative fields of contemporary art and research art, I would like to propose Hyper Phaneroid. From the preliminary research, I see articulated a visual explanation of the piercing of the mental deployments resulting from my condition of hyperphantasy on the current foundations of dark phenomenology, hyperplastic agency and hyper phaneron (the impalpable imagination). The condition of hyperphantasia is a greatly heightened perception of the imagination. The subject is recent and currently under research. In this prism, the phenomenological exploration of the fields of mental deployment becomes accessible via the vehicle of the pictorial work. What is aimed at is not a consideration of representation but a space of presentation. In hyperphantasiac synaesthetic experience, the phenomenal content resulting from the trans-visual experience is in a state that precedes the usual considerations of ontological experience. It would therefore be an attempt to offer unprecedented images that present a phenomenon of the otherside. This attraction of the singular experience, largely covered by abstract painting at the beginning of the 20th century, is reactivated in the renewal of the media experience and the post-human horizon. Princess Institunia, a virtual person, through the fluidity of her bodily representational framework, becomes an intelligible allegory of the piercing of the experience contained in the mental experience. The digital paintings, in their compositional content, crystallize a momentary nature of these effects and characteristics specific to the hyperplasticity of the transductive imaginative visual field. I would obviously like to emphasize my interest in the continuous modification of this project according to the interactions, research and new conceptual parameters arising during the duration of the research project.