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« J’ai toujours su que je ferais de la musique, sans ĂȘtre musicienne. « 

 

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J’ai grandi entourĂ©e de crĂ©ateurs, dans les grands costumiers et les studios d’enregistrement. J’ai fait mes premiers pas entre les machines Ă  coudre et les djembĂ©s.

I grew up surrounded by creators, from the costume workshops to the recording studios. I took my first steps in between the sewing machines and the djembe drums.

J’ai dĂ©couvert le monde dans la couleur et le bruit des jours qui se suivent mais qui ne se ressemblent pas . Timide de nature, j’observais sans dire un mot. J’analysais pendant des heures, assise dans un coin des salles de rĂ©pĂ©titions. J’absorbais le travail de chacun: leur vision, leur passion.

Ce qui me fascinait le plus, c’était ces gens cachĂ©s, qui donnent vie Ă  la musique.

J’insistais pour passer mes journĂ©es en studio et dans les coulisses. Ce monde m’appelait plus que tout. Tant pis pour les camps de jour et les cours de soccer… J’avais dĂ©jĂ  ma vision et le besoin de ne rien manquer de la scĂšne musicale.

Du plus loin dont je me souviensje trimbalais mon lecteur CD jaune partout. Dans ma tĂȘte, je donnais vie Ă  ce que j’entendais, je crĂ©ais un monde pour chaque chanson, pour m’évader du mien. Les mots et les rythmes prenaient forme et texture. Un film pour chaque chanson, une scĂšne Ă©clatĂ©e pour chaque mĂ©lodie.

J’avais dĂ©jĂ  un oeil sur le look des chanteurs. Mettre une performance en valeur c’Ă©tait pour moi, offrir quelque chose Ă  voir autant qu’Ă  Ă©couter.  Alors, pendant les spectacles, mes oreilles entendaient le talent, mais mes yeux ne lui donnaient pas toujours sa juste valeur. J’imaginais ce que deviendrait cette scĂšne si elle reprĂ©sentait la musique qui l’habitait, si le Cirque du Soleil ou Robert Lepage avaient eu, eux aussi, leur mot Ă  dire. 

Et je crois que c’est lĂ  qu’est nĂ©e l’envie de rendre la musique visible.

I discovered the world through the colours and the sounds of daily life that intertwine one another, but that do not resemble each other. Timid by nature, I would observe without saying a word. I would quietly analyze my surrounding environment for hours, sitting unobtrusively in a corner of one of the rehearsal rooms. I absorbed the work of each artist; their creative vision, their undying passion, and of course, their unwavering drive.

What fascinated me the most, were the hidden people – those who brought music to life.

This world was calling me the most; I always insisted on spending my days in the studio or backstage. Never mind those summer day camps and soccer games; I already had my vision – and that was the desire and need to not miss anything on the music scene.

From the farthest I can remember, I carried my yellow CD player everywhere I went and it never left my side. In my head, I would give life to what I was hearing; I would create a world for each song – effectively, a way of escaping my own. The words and rhythms took shape and created textures; a movie for each tune, a utopic scene for each melody.

Even from that young age, I already had an eye when it came to the look of the artists, especially the singers. For me, highlighting a performance was about offering something visual that was aesthetically pleasing, just as much as the actual auditory experience. Therefore, during these shows, my ears heard the talent, but my eyes would be betrayed, not being able to necessarily appreciate its deserving, fair value. I would fantasize about what would become of this stage if it truly represented the music it was presenting, or if the Cirque du Soleil or Robert LePage had their say in the matter.

I think that is where my desire to make music visible was born.

 

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Mettre la lumiĂšre sur ces artistes fascinants et inspirants, leur donner un outil de plus pour faire voyager leur musique.

Oui, l’image est commerciale, mais elle est d’abord et avant tout la continuitĂ© de l’oeuvre musicale.

J’ai toujours su que je ferais de la musique sans ĂȘtre musicienne.

J’ai envie que l’image et la musique fassent Ă©quipe. De pousser la collaboration entre les chanteurs et les crĂ©ateurs visuels. J’ai envie de leur donner une Ă©quipe solide qui saura les complĂ©ter et les accompagner dans l’Ă©volution de leur carriĂšre et les pousser Ă  aller au bout d’eux-mĂȘmes

Parce ce que la musique se sent, se ressent, s’entend et se voit.

Moi, je la vois.

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Despite not being the actual musician, I somehow always knew that I was going to work with music in some shape or form. For me today, this means putting the spotlight on these fascinating and inspiring artists, as well as giving them the necessary tools to allow their music to spread out and travel far and wide.

Of course, the image is commercialized; however, the focus is always first and foremost about the continuously evolving journey of the musical work.

My goal: to team up the image and the music, and marry them as one. Ultimately, to push the collaboration between the artists and the visual creators. My desire is to provide them with a solid team who will not only accompany and fulfill that missing element with them throughout the development and evolution of their career, but that will also push them to go even farther then what they believed they were capable of.

Because music can be felt, heard and seen.

Personally, I see it. 

👁

Photo: Jennifer-Lynn Christie, Photographe

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