"Wonder is our need today, not information",  Elia Kazan

Michel Moyse is an artist, teacher and co-founder/director of the Center for Digital Art, a non-profit organization dedicated to providing educational resources and promoting filmmaking and videoart in Brattleboro, Vermont.  Michel's artistic career spans nearly 5 decades and includes works on paper, glass, plastic, film and, for the last several years, single channel and multi-channel videoart projections he calls "motionpaintings". 

To see the works "in motion", please click on the work's titled TEXT or image or go to "motionpaintings" or any sub-category:  Multi-Channel, Recycles, Domestic Loops, 8 Doodles, Interruptions, Sayings, 9 Projections (2003), 12 Easy Pieces (2002)

That a work of art occupies multiple spaces is of course not new, and history abounds with examples:  The Medieval diptych and triptych; Egyptian hieroglyphs; and more recently, Cubism (which heralds our own artistic sensibilities), to name just a few.  But that the process itself becomes objectified and codified into new modes of artistic expression is, I think, a recent development.  The causes for this can be traced at least partially to our perception of reality enhanced through a variety of sensory manipulations - television, radio, video, computer, etc. This obviously creates an environment which is multi-layered; an environment which redefines in fundamental ways what we mean by 'reality' and which - and this is the important point - consequently calls for a reinterpretation of what is specifically relevant to us and therefore worthy of exploration and expression. This then forcibly entails concomitant shifts in modes of perception - that is to say, in consciousness.  And that this coincides with the dissolution of the (largely Western) Cartesian dichotomy of object/subject - of conscious and subconscious; of self and other - need not surprise us.  Boundaries are in constant flux; reinterpreted and redefined; both on the personal level as well as the sociopolitical level.  Process takes precedence over product; form over content.  What this points to is, in fact, a new understanding of artistic expression.  The two concepts of 'integrity' and 'unity', for example, so critical in defining art of the past - in defining a spatially and temporally homogeneous sensibility (balance, harmony, etc.) - are now modified to include disparate and random sensibilities; to include, for example, the 'incongruous' as well as the 'congruous', the 'disharmonious' as well as the 'harmonious', the 'irrelevant' as well as the 'relevant', the 'incoherent' as well as the 'coherent'.  And this, I believe, is the specific purview of the 'contemporary' artist.

For a very personal look at what art means to me, please click on Five Essays on Art & Painting