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Landcuts.com

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“Suppose you think of an organism as being like a computer graphic that is generated from some program. Or think of an oak tree as being the output of a program that was contained inside the acorn. The genetic program is in the DNA molecule. Instead of calling it software like a computer program, we call it wetware because it’s in a biological cell where everything is wet. Your software is the abstract information pattern behind your genetic code, but your actual wetware is the physical DNA in a cell.”

Rudy Rucker, R. U. Sirius, and Queen Mu, eds., The Mondo 2000 User’s Guide.
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In his images of Landcuts (comprising the interrelated series The City, Downtown and The Suburb), Paul-Émile Rioux is ­creating a brave new metamorphic world of habitat and ­inhabitation for the twenty-first century. Indeed, Rioux broaches a ­powerful critique even as he builds future worlds of tiered signs that may seem purely utopian and exhilarating on first viewing but which may in fact be profoundly dystopian. As we stand on the threshold of these landcuts, they lay a cunning trap for us. We are seduced into projecting within their infinity grids. We perceive them as harbingers of total colonization, and it is not long before we are submersed and swept away into uncharted depths.
Artist and photographer Paul-Émile Rioux lives in Montréal, Canada. His lifelong interest in cutting-edge new media technology as well as his expertise in photography cast him as a pioneer in digital art and allow him, to develop a virtual matrix from which he extracts his images. He explores in his work a universe that lies at the crossroad of abstraction and the figurative. He invites  the viewer to determine, if what he sees is a reflection of reality or -imagination. Through his distinct approach, Paul-Émile Rioux is one of the most innovative artists in digital conceptions and one of the few creative minds able to blend with such keenness, aesthetics research and critical distance. Whether they translate into a Dantesque urbanity or the infinite horizon of a turquoise ocean, the urban territory reflected by his creations offer a dystopian view of the world, challenging our attitude towards the environment and the future.

L’artiste et photographe Paul Emile Rioux vit à Montréal, au Canada. Pionnier en art numérique, il s’intéresse très tôt aux nouvelles technologies et met à contribution son expertise en photographie pour développer des matrices virtuelles d’où il tire ses images. Ses œuvres proposent des univers à la frontière de l’abstraction et du figuratif. Ces projections dynamisent le regard, l’invitant à déterminer si ce qu’il voit appartient au réel ou à l’imaginaire. Par son approche singulière, Paul-Émile Rioux est l’un des artistes les plus novateurs en matière de créations numériques et l’un des rares créateurs à -conjuguer avec autant d’acuité recherche esthétique et posture critique. Qu’ils traduisent une urbanité dantesque ou l’horizon infini d’un océan -turquoise, ces panoramas grandioses offrent une vision dystopique du monde. Ils interrogent notre attitude à l’égard de l’environnement et de l’avenir. 
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Copyright © 2018: Paul-Émile Rioux, 

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Commissioned Artwork

Texts
1: Surveying Landcuts
2: Immanent Structure

3: Of matters viral and vertiginous
4: Place and Non-Place
5: Combinatorial play
6: Dystopian Signifiers ?
7: Deleuzian Diagrams
8: The Braincase of the City
9: Synaptic Sojourns
10: A Digimorphic Matric

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 © 2018 Paul-Emile Rioux

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