HD video (11:46)
STEM is the sensitive encounter between the precariousness of survival and the sustainability of the machine. The device traces an unlikely landscape, it roams around the area and heads for the encounter with the tree chimera. It questions the machine and its capacity for poetic correspondence. In a crossing that tends towards the absolute, passengers will never touch the ground; they slip through the landscape sensitive to the sound of the intertwining of the murmurs of the wind, the polyphonic sequences of choirs and the dark scraping of strings – all this the result of algorithmic calculations (Turing machine).
Around the recurring figure of the landscape, Rajotte takes a romantic approach where tension and opposition interplay with composition used to explore the building process of the images. She borrows from cinematographic strategies, editing effects and staging that not only transform, but aesthetize reality. The landscape is refined and fragile, and the landscape is thus asserted through the artist’s operations as a cultural object. Her sound accomplishes this unnatural shift of images, weaving around her some sort of atypical universe to the point anxiety. The acoustic environment doubles the sensory experience of the work by simultaneously conflicting and supporting the image’s narrative. These frames meet, repel each other and destabilize their reception, in sort, they challenge the heart of the work.
Her approach is distinguished by its clear interest in perception and she radicalizes its scope. This monitoring exercise is not motivated by technological devices, but by organizing an open environment on interpretation. Her compositions are like those of a painter working to augment the fundamental temporal dimension of an experience. Image and sound materialize in time, attract attention, registers in a given space and finally gives in to convey the full power of the work.