“Adopting a two-sided approach, the principle of holography on the one hand, and the arrangement of holograms on the other, Boissonnet has succeeded in subtly introducing and incorporating new spatiotemporal parameters into art. (…).”  (Louise Poissant, in Entre lumière et ombre, In-Between, exhibition booklet, Montreal, 1999. Translation by R. Patrick Boissonnault) 

ARTIST HOLO MEMORIES
2018

Glass, rainbow transmission holographic film, steel (edition: 4/4). 30 x 29 cm (hologram) - 100 x 55 x 30 cm (structure)

This luminous sculptural work combines the digital imagery of a neural network, as a representation for imagination and intelligence activities, with the painter's classic accessories, and somepurely luminous colors. It deals with the idea that it’s always the brain of the viewer. which does the artwork. Mise en abyme of the subjectivity of the viewer into that of the artist.

Produced with the support of Atelier Holographique de Paris. Aknowledgments to Pascal Gauchet, Vanessa Siffredi (EPF, Lausanne), Silvia Opertino (Université de Genève) et Rachel Brabant (UQTR, Trois-Rivières)

INSIDE-OUT (SEns-dessus-dessous)
2019 (Triptyque)

3 holomontages ( Denisyuk reflexion hologram + Copy Art print mounted on plexiglass. Some images are orthoscopic, the other is pseudoscopic (in reverse perspective). Difference and similarity about the same object-world in a perceptual uncertainty. As everything is a question of point of view. FDlattening maps of the countries and spatial ambiguïties.

The holograms of the stone have been realised at Holographic North Lab (Burlington, VT) in 2013 and the cartographic prints have been printed first on Canon copier at the MIDE (Cuenca , Espagne) in 1992. Final concept and montage in 2019

Holomontages: 56,5 x 39,5 cm (with frame)

WHAT YOU SEE MAY NOT BE WHAT YOU SEE (Holo-Helmet)
2018

Installation/performance. Presented at Gallery R3 (Trois-Rivières), june 21rst 2018 within the project : Co/Create_Espaces partagés

Glass, holographic gratings films (HOE), helmet, DEL forehead light & terrestrial globe
30 x 30 x 115 cm (glass structure)

I built this archaic-looking "pseudo-holovision helmet" out of a mirror frame, a bicycle helmet, a headlamp and a piece of holographic diffraction film. You see nothing through it but colorful rainbow diffraction effects superimposed on the real world. No projection, no film, although the imagination of the common spectator can easily think so. It is therefore a performative object, like a portable and technopoetic sculpture that can also be experienced by the viewer.

PERSPICERE
2018

Engraved glass, rainbow hologram (WLT), steel
45 x 32 x 13 cm (glass box) - 68 x 53 x 40 cm (structure)

“Perspicere" is a holographic sculpture that physically and conceptually explores the act of seeing through... It puts into perspective the thought that seeks to see clearly, to discern the transparency from opacity, the presence from absence. And the holographic image, with its spatialized colors and ambiguous perceptions, hardly sheds any light on the matter. Indeed, the seing-through-vision can only forget about what it is being seing-through, by deluding itself.

Exhibited at Galerie d'art du Parc (Trois-Rivières). Red the online article by Louise Boisclair in ARCHÉE (july 2019) Transparence/Transparaître: une triple exposition qui nous regarde

WHERE THE SUN RISES
2017

Sandblasted Plexiglass, HOE acetate film, blue chalk-line and Leiko spotlight
50 x 50 cm (plexiglass) -

Presentation at Art Gallery R3 for Echoes & Horizons exhibition

LA CONSCIENCE DES LIMITES (DÉDALE)

The Awareness of Limits (Dedalus)
2013

Sculpture: two transmission holograms on Plexiglass, steel structure, LED strips (white-blue)
228 x 228 x 228 cm (82 x 82 cm each hologram)

Technical support: Harris Kagan (OSU Pulse Laser Lab) and John Perry (Holographics North Lab)

NULLE PART / Nowhere
2013

Engraved glass, two LED strips (green, red) and wooden brackets
75 x 75 cm (glass)

(Photo credits: Guy Samson)

UN MONDE D'INCERTITUDE

A World of Uncertainty
2008

Two transmission holograms (WLT), black Plexiglass bowls and digital photography printed on styrene
365 x 127 x 45 cm

In this holographic sculpture, two holograms placed in black bowls represent the southern hemisphere of the terrestrial globe. Except that the terrestrial model used is an inflatable geopolitical balloon and that the signs + (plus) and – (minus) have been engraved on the surface of each of the holograms. These act as imaginary receptacles for our uncertainties about the future of the planet and our preconceived ideas, such as that of a superior vision of the North over the South. The whole is intended to convey an increased perception of doubt and a call for the relativity of points of view.

EFFLORESCENCE
2002

Two transmission holograms (WLT), mirrors, aluminum, black Plexiglass, two CD players, mini-speakers, photoelectric sensors, laser diodes and electronic microcontroller
Installation: approx. 600 x 600 cm

Technical support: Pierre olivier (electronic), Dan Schweitzer (New York Holocenter) and John Perry (Holographics North Lab)

Collection of the Fondation du Musée d’art contemporain des Laurentides, Saint-Jérôme, Qc

UN MONDE NOUVEAU
2001

Installation using water and light to reveal itself to our aesthetic perception. Two half-spheres in black Plexiglass, engraved glasses, water, two motors and solar sensors (projectors or sun). Engraved phrase (Blaise Pascal): “The center is everywhere, the circumference nowhere”.

Black Plexiglass bowls, engraved glass, water, two electrical engines and solar sensors (with light projectors or sun)
80 x 40 x 40 cm each element

Technical support: Pierre Olivier (electronic)

JE/TU

I/You, 2000

Four reflection holograms on Plexiglass, pillows and sheet
220 x 220 cm, ed. 2/2

Technical support: Cégep de Maisonneuve Holography studio, Montréal, Qc

Collection of the Fondation Danae Art Actuel, Oviedo, France/Spain

RECARTOGRAPHIER SON MONDE

To Recartography Own's World
1992-2000

Transmission hologram (WLT) and 100 laser prints* mounted on Permaflex
Approx. 180 x 180 cm. Technical support: Gérard Allon (Pulse laser lab, Montraeal), John Perry (Holographic North, Burlington, VT), and MIDE artist-in-residency program (copier-art prints, Cuenca, Spain).

Going around the world with a balloon, ironically with an inflatable terrestrial globe (geopolitical and transparent) that I conscientiously flattened on the window of a photocopier, from all angles and meridians, in order to produce images looking like the echographies of a fetus. It was at this moment that the idea of ​​a fragile Earth-Child was born, replacing the mythical Earth-Mother in our collective unconscious.

IN BETWEEN (Interstices)
1997

"In-Between (interstices) is a work designed to facilitate interaction and cooperation between the individual spectators. In this way, it can be said that this particular work more than any other helps the Spectator realize that he or she is the real content of the artform that the installation is …" (Louise Poissant, in Entre lumière et ombre. In-Between exhibition booklet. 1999, Translation by R. Patrick Boissonnault)

Three transmission holograms (WLT), steel, halogen lamps and LED strips, electronic lighting control unit and three ultrasonic motion detectors
1000 x 1000 x 200 cm (each hologram: 110 x 110 cm)

Technical support: Pierre Olivier (electronic) et John Perry (Holographics North Lab)

LA CONSCIENCE DES LIMITES (GALILEO)

The Awareness of Limits (Galileo)
1993

One stereographic hologram (oval), two HOE holograms (cylinders), Plexiglass, easels, electronic lighting control with ultrasonic motion detector
Approx. 500 x  300 x 185 cm, ed. 2/2

Technical support: Guy Marsden (electronic) and John Perry (holography)

LA CONSCIENCE DES LIMITES (GAÏA)

The Awareness of Limits (Gaïa)
1992

"La conscience des limites (Gaïa) refers to the Earth Goddess and scrambles in turn the images and ideas; The eye wanders and […] combines the monumentality of structure […] with the derision of holographic images of an inflatable ball; evoking that same terrestrial globe living its suspended sentence, where we build all our dreams and project the epic as well as the utopias of our future." (Hervé Fischer, in Philippe Boissonnet, Artist of Uncertainty. Catalogue: Philippe Boissonnet, La Base, France, 1993. Translation by Lucille Nelson)

Eight holograms (WLT) mounted on Plexiglass, steel, wood, lead sheet, infrared motion detector, lighting electronic control unit
330 x 360 x 180 cm (holograms: 70 x 61 cm)

Aknowledgments to Canada Arts Council, and to Pierre Olivier (electronics), Gérard Allon Pulse Laser Lab (Montréal) and John Perry (Holographics North, Burlington)

AIRE TECHNOCULTURELLE

Technocultural Area
1991

"Aire techniculturelle quotes the scenography of painting by Edouard Manet Le déjeûner sur l’herbe, which is placed in opposition between space (area) and time (era), between nature (grass) and technoculture […], between Painting (Manet) and Photography […]. A true provocation along with a great talent and an undeniable artistic appeal, in order to install in us total uncertainty regarding all our traditional  as well as modern constructs…" (Hervé Fischer, in Philippe Boissonnet, artiste de l’incertitude, 1993. Translation by Lucille Nelson)

Two transmission holograms, Plexiglass, easels and metal platform
450 x 450 x 110 cm, ed. 2/2

Technical support: Fringe Research Holographic Lab (Toronto) and Holographics North Lab (Burlington)

DE PROFUNDIS (or The Artist Remediation)
1990

Two transmission holograms (WLT), seven tripods, Plexiglass and white paint
Approx. 350 x 400 x 180 cm

Technical support: Fringe Research Holographic Lab (Toronto) and Holographics North Lab (Burlington)

PEINDRE OU NE PAS PEINDRE?

To Paint or not to Paint?
1989

Transmission hologram, wooden frame, easel and pigments on canvas
200 x 240 x 180 cm, ed. 2/2

Technical support: Fringe Research Holographic Lab (Toronto) and Holographics North Lab (Burlington)

GREAT CLASSICAL NUDE
1988

Reflection hologram on glass (WLR) and charcoal/photocopy transfers on cardboard. An artwork that do links in-between different models and reproduction means, though a first model that is a reproduction of the Venus de Milo. Hologram has been prioducedfrom a plaster cast (of a real bust) meanwhile the far left image is from a direct body-copy-art production of another female model. The piece is questionning the idea of original by emphasizing and confusing different sources of female figure.
40 x 122 cm

Technical support:  Fringe Research Holographic Lab (Toronto)

À L'OMBRE DES GRANDS MODÈLES #1
1987

In the wake of the post-modern hybridizations of the 1980s, this “holo-picto-sculpture” questions the (non) disciplinary belonging of the holographic medium in the face of large models (the Nude in this case) and art historical practices. , questioning in passing our mode of perception of representation in two and three dimensions. The work pushes the viewer to interweave deconstruction and reconstruction of the subject.

Reflexion hologram on glass (10x16 po.), pastels and acrylic on wood and canvas (about 62 x 24 x 28 inches)

Technical support: Fringe Research Holographic Lab (Toronto)

L'OMBRE D'UN DOUTE

The Shadow of a Doubt
1987

“The obvious kinship between holograms and hallucination, or mirage, have led Boissonnet to a theoretical reflection about the philosophical and literary tradition of the Double in relation to the image of the body” (Frank Popper, in L’art à l’âge électronique, Paris : Hazan, 1993)

Six holograms (WLR & WLT) on glass, Plexiglass and acrylic/pastels on three cotton canvases
Approx. 10 x 10 metres  (hologram: 30 x 40 cm)

Technical support: Fringe Research Holographic Lab (Toronto)

REGARD HOLISTIQUE

Holistic Gaze
1984

Reflection hologram on glass (WLR)
21 x 26 cm, ed. 6/6

Technical support: Fringe Research Holographic Lab (Toronto)

Collection of the Interference Hologram Gallery, Toronto, On