Re: [-empyre-] Nicolas Clauss
Hello Barbara and Komninos
First thanks to Komninos, your words really touched me.
It feels very good to know that you can you touch with your work someone's
living the other side of the world, Australia is a country
I'm really linked to in my personal life.
thanks again komninos.
About poetry, I don't mind you to call my work that way,
poetry (even if, unfortunately, I don't really read any poems) what ever
it takes is a major thing to me. It brings meaning in Life when you hardly
can see any other (except love but isn't love a kind of poetry?).
Anyway I still don't know if it is or not poetry but I take it :-)
> hello nicolas
> i love your work
> i teach your work
> i preach your work
> you are the future
> even though you do not see yourself as a poet as such i see the work as
> i have never felt as much a part of an on-line work as i do with your
> collaborations. sometimes i spend hours at this site and other times just
> pass quickly, but i keep returning and i have not experienced everything
actually your question sounds more like a comment than a question.
A really nice comment indeed and it says quite well about what I try to do
in my work.
I guess as a painter I used to think of the spectator eyes movement, how
eyes will soar on the picture,
how the eye will start from on particular point to travel on the canvas
from one element
to another and to finally "read" the work. I guess every painting has and
is a story.
I invite to look at the painting or the digital work the way I offer,
suggesting a "story" but many are possible and it is for good.
When it comes to interactive work the aproach is exactly the same
except I have more means to express myself, to bring the viewer into the
Then the "strategies" as you call them are no more only such particular
element on the flat canvas but can be some sounds element,
some particular interactivity or movement.
I mean the process can be much more complex than a simple
painting but it is a very similar approach.
> Hello, Nicolas.
> Could you describe more about your process?
> Specifically, I am wondering about your attention to surfaces and the
> accumulations of many textural details that draw the eyes into the
> movies. You have many strategies that get a viewer to explore the work
> interactively. However, it seems to start with the clarity of richly
> detailed objects (and people-as-objects) - such objects may display a
> but mysterious motion.
> The objects seem to have stories to tell and we willingly follow them,
> though there are no narratives.
> Maybe this reflects your history as a painter? How do you do that?
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