ARTISTS
Michel Paysant: See Monet
The project, titled DALY, standing for Dessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Mus茅e National in Monaco and the Centre d鈥橝rt Verrier (CIAV) in Meisenthal.
Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, 鈥渓ooking at鈥� works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet鈥檚 Water Lilies with his eyes.
Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, 鈥渁ll-over鈥� form of painting, where no one part of the painting holds primacy over any other.
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The project, titled DALY, standing for Dessiner Avec Les Yeux (Drawing with my Eyes), is implemented with the help of an eye tracker (an oculometric procedure that highlights eye activity, the visual path, its fixation points and movements). So the eye rather than the hand becomes the tool. For the last thirty or so years, the artist has collaborated with numerous laboratories in creation of these works, including at the Louvre, the Centre Pompidou, the MUDAM in Luxembourg, the Zentrum Paul Klee in Berne, the Dadu Museum in Beijing, the Nouveau Mus茅e National in Monaco and the Centre d鈥橝rt Verrier (CIAV) in Meisenthal.
Michel Paysant focuses in particular on interpretation of artistic heritage, revisiting art history, 鈥渓ooking at鈥� works through the filter of his own creation. In 2022, he was overcome by a desire to draw Claude Monet鈥檚 Water Lilies with his eyes.
Initially, perhaps, because of the paradoxical nature of such an ambition: wanting to draw huge paintings characterised by their scope, their lack of beginning and end, regarded as one of the birth certificates in the west for a decentred, 鈥渁ll-over鈥� form of painting, where no one part of the painting holds primacy over any other.
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