Listening to all the fringes of psychic and objective reality, drawing an illusory index of it, exploring imperceptible phenomena with the naked eye or challenging the common knowledge by attempting to materialize them. Here are some tracks on display in Vincent Ceraudo’s work. Through the use of intuition and testing, the artist restlessly questions reality and its perceptible and acceptable boundaries. For instance, his photographic series Transfer (2012-2014), consists of sober prints on a black background showing ordinary objects that have been modified by telekinesis during scientific experiments. In Poltergeist (2012) he recorded at night the sounds coming from a supposedly haunted abandoned house, without explaining the nature of each sound, obviously. Rationality of the artistic creation is also questioned in his work, such as in a series entitled À demi conscience (2012)—which consists of images of sculptures produced at night with objects of his domestic environment, in a half-asleep state, and thus with an altered
awareness and perception of the reality of those objects, putting
in action the evocation and imaginary in the way to handle them. Therefore, Vincent Ceraudo skillfully plays with the boundaries between reality and a fiction that he never himself summons but that the audience will be able to apprehend such as in front of some of his pieces, sometimes very immersive ones, which nature and display appear ambiguous and leaves a doubt. A doubt which according to the artist becomes “a generous moment for the mind, enabling to free the imagination.”

In The distance between the viewer and I (2014), his first video production, the artist one more focus on the ability to detect and see in extraordinary conditions. He invited in his studio, at different times, two persons endowed with capacities of extrasensory perception. He asked them to try to figure out the places where he was, in real time—namely the Observatoire de Paris, and without giving the information to anyone. The video consists of an editing of the researches and the discovery of the places that are filmed in a floating way by the artist a bit like a “caméra subjective” would—as if he wanted to confuse us on who is watching.

The confrontion of points of view and prints on a poster will
voluntarily appear as absurd and disconnected from the subject—even
if The great invisible elephant (2014) is the title of a tale taken
from a book on psychological sciences. Or how to go on the unstable
ground of consciousness…modified, always.

Text by Frédéric Bonnet, 2014

PHYSIC / PSYCHIC • ART-O-RAMA collection • September 2015