Collage, A4

Codé_in is a collage conceived like a transfer support. The device appeals to a self-projection into time and space, notions virtually embodied by the line pattern. On the page, an encoded (on codeine ?) character is inlayed on the surface of an encrypted screen, and cast into the psychic space of a sequential memory. Its unstable posture and fixed position convey this idea of displacement and of a quest for anchorage, revealing the artist’s characteristic nomadism.

Loudspeaker. Amplifier. Steel tube. Parametric equaliser.
Ground element : 130,5 cm
High element : adaptable to the space

Sound in itself having rarely been worked on in the field of design, the
idea was to construct an object that might be included in our daily
space, our "home sweet home", as for instance halogen floor-lamps
transformed the nocturnal atmosphere of our homes in the mid-eighties.

The device is the following : two loudspeakers, mounted on tubes, like
halogen floor-lamps, are fixed vertically opposite each other. One to
the ceiling , and the other rests on the floor. One loudspeaker is used
as such, the other is used as a microphone.
The distance between the two loudspeakers varies according to the
acoustic space in which they are placed. “Y” +/- audible may be hidden,
allowing the freeest possible interpretation of the object’s
auto-generated sound by the user.
The amplification of the acoustic space and it’s interior and exterior
artefacts is modified by the phenomenon of feedback generated by the
opposition of the two membranes.
The space is acoustically modified by the variation of a frequency, or
note "Y", that will be more or less audible depending on the atmospheric
pressure and natural decibel level of this space. By approaching one’s
hands, or objects that may reflect or absorb the sound emitted by the
loudspeaker, a psycho-acoustic game is created (in the low-medium
frequency range). Sound shapes and masses become apparent.

Following on from the work of such composers as Erik Satie ("Musique
D’Ameublement"), or Brian Eno ("Music for Airports"), “Y” +/- audible is
part of a reflexion on the relationships that exist between sound and
the social space, to which each historical period supplies a different
context. Although the phenomenon of feedback is inscribed in a technical
and aesthetical dimension that was born in the technology of the
twentieth century, the project was inspired by a process dating back to
the Middle Ages, called the "wind harp".
The Wind Harp was found in houses in the form of strings of animal gut
tautened between the two vertical elements of a window frame. These
strings were tuned, and vibrated in reaction to the quantity of air that
moved between the inside and outside of the room. This would generate a
note "Y" or a chord "X" (a "drone"). The space was thus bathed in a
sonic variation, whose use might be compared by analogy to the use of
scents and incense.

exhibition
2002
LMX phase *3* School of Fine-Arts Le Mans . France
2001
LMX phase *2* Frac Paca Marseille . France

image : by eRikm
time : 3.30mn

A series of vertical travelling browses the slices of what we guess to be vinyl sleeves. The loop silently plays the notes of a frenzied remix. Falling, sliding, and bouncing, the image flow writes the chords of a concrete poetry into time. Words flash out off this flow, opened meanings come out and freely connect one to another.

Laser photocopies, A3 X 5

From primitive gestures, eRikm makes a laser photocopier motherboard bug, producing a thin streaked colour gradation on the blank page. Mistakes, tremors, and shuffle code entering generate the incident, converting the original picture into stretched calculation points. A framework appears : a set of lines containing information from an unknown and vanished source. Its reproduction ad infinitum screens the last visible tracks until they almost disappear.

Serigraphy edition , A1 X 134 cm
Score

As a response to the constraint set by a commission from L’Attente editions, eRikm answers with a constraint : make lines, submission state to the support, which generates here the manuscript of a minimalist score improvised on a repeat mode. A kind of ringing in the ear without hearing stimuli, this Acouphène (tinnitus) arises out of the blank page trauma : “I won’t copy any more”, false resolution for an artist for whom copying is a work tool, a nod to the dunce eRikm, who has now became a figure for “erudite” music.

Drawing, A4 X 5

While the radio broadcasts once again the famous General De Gaulle’s appeal of June 18, eRikm stares at a ray of sunlight from a window shutter on his studio floor. With a white sheet of paper, he tries to capture the circle of light. The drawings graphically convey a solar movement follow-up : each loop sequences the ray shifting through time and space. The process, punctuated by pauses upsetting the rhythmic line, stretches until the fatal very moment of its disappearing.

Pillow serigraphy

exhibition & perform
le grim / la compagnie Marseille . France

stone . loud-speakers . motion sensor+ sequential recording of life in the neighbourhood

exhibition
1998
Stupeurs et trompette Marseille . France
1997
Les ateliers d’artiste Marseille . France