Jean-Michel Rolland is a French artist born in 1972.

A long time a musician and a painter, he brings together his two passions - the sound and the image - in digital arts since 2010. Through video artworks, generative art, audiovisual performances and interactive installations, he questions the temporality, a genuine fourth dimension inherent to moving image, as well as the duality between his two favorite mediums, the sound and the visual.

His formal research is guided by the desire to reveal the intrinsic nature of our perceptual environment and to twist it to better give new realities to the world around us.

His works, always very experimental, are a reflection of the sometimes unexpected internal world of their author and are however the object of an important diffusion abroad. Several have been rewarded for their originality, by Digital Graffiti in Miami (USA), Multimatograf (Russia), dokumentART (Germany and Poland), the University of North Carolina (USA), Festival do Minuto (Brazil), Artaq (France) and The International Video Art Review (Poland).


Traces: Birds, 1', 2018, France

 November in Marseille, starlings gather on a crane before their big departure to Africa. The photographic trace, lost with the film, is here reinvented to show the flight of birds under a new aspect. Will their freedom of movement forever remain a distant dream for humanity?


La Roue, 2' 32", 2018, France

"La Roue" is a timelapse conceived from 160 photographic snapshots taken in the space of ten days. The computer processing applied to the successive images leaves an important part to transparency and thus confers on the recreated landscape a post-impressionist aesthetic.
In the night, a disturbing sound accompanies the appearance of impressionist spots that take shape, intriguing. Slowly, these scattered elements come together on a darkened landscape. The man is absent from the scenery but his activity is raised in the sky where vertical bars appear: a wheel is being built. The dawn comes to an end when the giant architecture of the carousel is revealed in its superb solidity, drawing in space a Dufy-style graphic.