Guillaume Vallée

Created on an optical printer from hand-painted 16mm film, this filmic object embodies a state of mind about benevolence.

Guillaume Vallée explores and interrogates the partially erased sensory memory of his adolescent years in this cameraless animated short created using a 35mm trailer for Céline Sciamma’s feature film WATER LILIES (NAISSANCE DES PEIUVRES, 2007). This process of resuscitating long-buried experiences and forgotten remembrances derives from the materiality of the 35mm stock, the nature of the filmed images and Vallée’s painted and scratched interventions directly on the film emulsion.

A depiction of various anxious states of mind during isolation. Fragmented anxiety and existential thinking. Hand-processed Super8 reversal and black & white film. Based on an interesting discussion with my son about the possibility of being haunted.

A depiction of various anxious states of mind during isolation. Fragmented anxiety and existential thinking. Hand-processed Super8 reversal and black & white film. Based on an interesting discussion with my son about the possibility of being haunted.

Ornately abstract textural imagery forged from hand-processed and hand-painted Super8 film painstakingly edited by Vallée allows Sharp's masterful and mesmerizing new music to occupy center stage while unfolding it into a sublime optical dimension.

Jean-Claude Van Damme is back, and this time it's personal. Seventy-two photograms constructed from a 35mm trailer of JCVD's opus The Quest (1996). Re-examining conceptions of masculinity by deconstructing some of the images I watched repeatedly as a child.

This experimental autobiographical film, in which features the filmmaker's family, questions the emotion of the faded moment through audiovisual memory. The artist reappropriates on Super8 film the last moments of Hélène Lamoureux, his recently deceased grandmother. The memory image crystallizes a chaos frozen around the inanimate body.

In Pas d’apparat corps, Toronto-based choreographer and performer Calla Durose-Moya continues research that she developed during her residency at Lake Studios (Berlin), a project concerned with the psychic impact of trauma related to the facts and gestures of day-to-day life. Video artist Guillaume Vallée lends his expertise in filmmaking to the project, and Hazy Montagne Mystique & Pulsatilla create a deep, organic soundscape using both analog and digital instruments. This collaborative project, developed as part of a summer 2020 creative residency at Studio 303, seeks to reveal possible connections between bodily practices and the body’s singular physicalities and analog video.

Hand-processed Super8 film as a dialogue with your darkest self.

Echo of Klaus Kinski's broken dream, in the face of Werner Herzog's multiple rejections to direct his script on the mad violonist Paganini. A psychedelic trance capturing the visions of a madman; traces of a film that could have existed.

Abstract short film / Super8

Ephemeral traces of nothingness—rotoscoping farmers, crumbling churches, dying memories as hand-painted layers, decay & collage on film emulsion as incidental traces of nothingness. A work that is aware of its own mechanisms.

Visual by Guillaume Vallée / Music by A Sacred Cloud

Inspired by Georges Bataille's essay Tears of Eros, this short hybrid film/video is about erotism and death. Through different analogue manipulations of the image, we are witnessing the psychological and physical decay of the character and the filmic matter.

Three act audio-visual collaboration between Guillaume Vallée & Harmergeddon.

In order to create an organic and psychedelic imagery by the use of Un Chien Andalou's footage as source material, Guillaume Vallée has been playing on the 16mm film emulsion for months using different cameraless techniques. As a result, heavy multiple layered images are being shown as sparkles of decaying and dying memories. With the sound treatment of Jane L. Kasowicz, from the musical pieces that use to be presented with Un Chien Andalou, used synthesis sound in order to create a new piece. The soundtrack has been transfered into a magnetic tape in order to manipulate the sound in a physical manner in destroying the actual magnetic tape with magnets and direct interactions.

Cameraless film – contact printed 16mm footage over Super8 raw stock – abstraction in the form of colourful flickers – Done for the OneTake Super8 organised by Double Negative.

Using a Super-8 roll, a shot of a woman walking on a dock repeats itself in effort to mimic decaying memories. The film is destroyed by decay and chemical intervention, then dubbed to VHS tape and manipulated live with a modified VCR.

This cameraless film is based on a recurent nightmare from my childhood, a night terror of a yellow specter riding a horse. The filmstrip has been destroyed by multiple expositions with a flashlight, hand-processing and a heavy noise soundtrack composed by Éric Gingras.

Hand processed cameraless film subjected to different homeade light sources. This is an obsessive exploration of a short scene that demonstrates a group of Roman soldiers who constantly cross the frame, accentuating the horizontal flow of movement.

By using techniques such as direct manipulation and optical printing, this work was meamorphosed from found fotage originally existing as a documentary film on Ancient Greece to it's existing form. This short pieces is the result of an independent study with Jean Théberge as my advisor. My approach was to subject the original film to constant experimentation as would an archeologist, peeling and re-layering scenes by means of collage, referencing the original images under multiple layers of psychedelic imagery

A film in five parts, inspired by as much fictional and historical characters, who have demonstrated, by their work or their action, the dark side of the man. -GV

Sadistic purity of transfer of raw emotions from the reading of the work of the Marquis de Sade “The 120 days of Sodom. Engraving and painting on film

This recording captures a solo bass saxophone performance in the Gates of Heaven, a small synagogue in Madison, Wisconsin. After an exhaustive recording process elsewhere I visited the synagogue en route to the airport to quickly record a solo piece. The engineer and I had only a couple of hours to capture something before catching our flight home to Montreal. Microphones were set up at varying distances throughout the synagogue and I improvised a solo piece using the acoustics of the space. We had just enough time to record what became an 18 minute multi-tracked piece. Every layer was a first take and a response to the previous.