Nelly-Ève Rajotte explores the landscape as an environment that is both natural and cultural. She is interested in nature, non-places, and architectures with a dramatic sensibility similar to that emanating from her projection strategies. The images are doubled, superimposed, and blurred on the video track, as the elements and sites represented become more complex and unique. Upsetting and strangely physical soundtracks are added to the visuals, augmenting the reality composed by the artist. Landscape thus navigates from real to fiction, taking root in the spectator’s emotions.
Rajotte redefines landscape by borrowing from the historical codes for its portrayal. Like the romantics, she manipulates colour, light, and ambience to transcend traditional pictorial effects and create an experience closer to the sublime. Her outdoor projections enhance the perceptual range of her works by endowing them with a sculptural perspective. Through the monumentality of their architectural support, video and sound themselves become landscape.
The artist places the world at a distance and strips it of its clichés by letting the experience of it become the subject. Indeed, from traditional projections to her in situ corpus, the perceptive conditions of the landscape are key to Rajotte’s works. This always-precise mise en scène offers a renewal of contemplation as an exercise that engages the entire body.
The immersive action of Rajotte’s art defines a particular space in which the landscape scrolls by and the spectator stops — so much so that contemplation becomes an act of transition among the site, the experience, and their reciprocal effects. Time is revealed as a dynamic index of these interactions. It is suspended in contemplation but it alone condenses the image, the sound, and the space.
In short, Rajotte tests the landscape by materializing its experience. She inscribes it within the impermanence of emotion and then reveals the incessant metamorphosis of environments immobilized by our expectations.
[Translated from the French by Käthe Roth]