Do you mostly use archival pieces for your VJ creations, and do they own a specific aesthetics that fits into VJing narratives?
I have always tried to combine archival materials with abstract and graphic animation works. This makes the visual continuity sometimes difficult, but it is much more interesting in terms of creativity.
VJing does not have the goal of a historical contextualization, but the sole goal of creating visuals that trigger the audience’s experience. With regards to the archival film heritage, I use mainly experimental and avant-garde film, and especially the ones where you see the interaction with the human body. My favourite masterpieces, perfectly suit certain atmospheres in the club between abstraction and bodily movement. From Man Ray’s Le retour à la raison (1923) to Fernand Léger and Dudley Murphy’s Ballet mécanique (1924), from René Clair’s Entr’acte (1924) to Hans Richter’s Vormittagsspuk (1928), from Maya Deren’s The Very Eye of Night (1958) to Henri-Georges Clouzot’s L’Enfer (1958), from Norman McLaren’s Pas de deux (1968) to Paul Sharits’ T,O,U,C,H,I,N,G (1968).
However, I always modify them with effects that I apply live. Often they are not even recognizable and get mixed with other content. Graphic animated videos work very well when combined with historical experimental films, especially when they play with the effect of continuity, suggested by lines, shapes, or colours.