top of page



Matière première/ Raw material

JANUARY 18 - MARCH 02, 2024 - Montreal, Quebec, Canada

Tuesday – Saturday: 12–5PM

Vernissage 01
.18.24, 5:00 - 10:00 pm

Free entrance



Yan Breuleux (M.A.Sc, D.Mus) is an associate professor at the NAD-UQAC UQAC School (School of Digital Arts, Animation, and Design), a co-researcher within the Hexagram network, and the director of the Mimesis laboratory. His artistic practice is centered around visual music for immersive devices. Since 2012, he has designed several FullDome experiences such as Nuée/Swarm (2015), Les Planètes (2018), Enigma (2019), and Matière Première (2023). The latter project was recently showcased in Taiwan in a dome created by the C-Lab collective. His project has also been accepted at the Mapping festival scheduled to take place in Geneva in May 2024. Since 1998, as part of the Purform duo in collaboration with Alain Thibault, Yan Breuleux has contributed as a visual artist to numerous immersive experiences presented at international festivals. 

The Raw Material creation project is based on the use of volumetric capture selfies, transformed into virtual environments, for the creation of printed, animated and Fulldome digital paintings. The artist uses his bodily identity as a source for an extraction of aesthetic forms which is based on the metaphor of the exploitation of a deposit of digital material. 


Raw Material shows a creative process favoring chance, the random, the contingent, the accident, the deformed in relation to the fluctuating representation of identity of which the artist's volumetric selfies constitute the raw material. The points of view transform the concreteness of the recordings into abstract virtual space. And capture accidents, such as empty spaces or distortions resulting from gaps in digital input, are deliberately left apparent, even provoked. Rather than seeking to erase the imperfections of realism, to hide pixels, noise and digitization problems, Yan Breuleux exploits their expressive potential. 


The work also embodies the uniform temporal principle, where the transformation of the paintings takes place so slowly that it becomes almost imperceptible. For an observer, the environments initially appear frozen when contemplating the paintings. However, after several minutes, when he/she looks at the works again, he/she notices that all the environments have subtly evolved, both in their shape and in their color. 

The exhibition experience revolves around the presentation of a series of animated paintings, with the transformation speed balanced at the threshold of immobility. Depending on the work, the total duration varies between four to twelve hours. The triptych, spanning nine hours, comprises three temporal states of the same animation. This composition allows the simultaneous apprehension of three distinct states of movement within a single animation. These states progress gradually, making it challenging for anyone to fully visualize the entire sequence. The animations stem from camera movements generated within an environment composed of the multiplication of the capture of the artist’s face in point clouds. The digital materialization of the multiplied face thus becomes an environment of abstractions from which Yan selects specific viewpoints. During the creation of the paintings, the artist move randomly to choose camera perspectives that subsequently serve as interpolation points for animation creation. 


The image ratio is 2:1 to allow conversion to immersive 360° format. 


Photo credit: Alejandro Escamilla

bottom of page