Khlorotrope is a minimalist homage to early optical machines like phenakistiscopes and zootropes, which used rotary motion and retinal persistence to create an illusion of animation. Here, light created by rotating lasers meets a cloud of water mist.
The structure of the mist is then revealed, half-frozen in its expansion, transforming into an abstract animation that oscillates between nebulous calligraphy and a ghostly landscape. The amount of mist diffused, the rotation speed of the lasers, and their flashing frequency allow for multiple variations within this chimerical universe.
While the machine can operate on its own, it truly comes into its own when used by a "Khlorotrope player" who manipulates the various controls to blend into the exhibition environment or accompany a musician. The machine then becomes a true instrument of light.
In the direct lineage of the Brumascope, the artist's first installation combining water mist and light, the Khlorotrope is part of a personal exploration of image and light. The Khlorotrope draws on various artistic influences: "engineer" artists like Panamarenko and Jean Tinguely, who freed the machine from its functional constraints, and poetic machines linked to music, such as Brion Gysin's Dream Machine or Andy Cavatorta's mechanical-robotic instruments.
Continuing the idea of opposing today's digital black boxes, the machine adopts a form and operation that contradict any notion of productivity. It displays all of its components so that a curious and patient eye can examine it and understand how it works.
In its operation, the machine uses a system of fans and piping to push a cloud of water mist toward a cylinder of vertical metal tubes. Once in the open air, this cloud encounters rotating lasers that illuminate it. This is where the Khlorotrope player intervenes. Part light-musician, part pilot of an imaginary journey, they craft and tell an abstract story, not through notes, but through various speed and light settings that generate a fragile, suspended miniature universe. Spectators watch the swirls of mist appear, disappear, and evolve into multiple forms interpreted according to each person's imagination, with the phenomenon of pareidolia playing with the audience just as a wanderer might invent a rich bestiary while watching the clouds.
Arthur Baude is passionate about imagery in all its forms.
With a background in graphic design, he crossed paths with the La Main collective, with whom he was able to develop the artistic side of his work.
At the same time, he taught himself interactive electronics. This experience opened up the world of fablabs and maker spaces, where he cut his teeth on digital fabrication machines.
He uses this technical range to design and build poetic machines and installations that would have no place in an industrial environment. His work revolves around two main themes:
the creation of micro-universes that occupy space through light, and the creation of sensitive machines.
Particularly interested in the possibilities offered by alternative systems for creating and projecting images, he seeks to repurpose them, finding new ways to create visuals and fix them onto various media. To do this, he builds devices that look like mechanical monsters, standing in contrast to the sleek, closed-off devices we use every day.
He navigates between different disciplines (digital art, video art, interactive design, live video...) and different environments (digital art, VJing, performing arts, the maker community). He wanders between hacker spaces, fablabs, and artistic creation venues, drawing inspiration and blending the influences of these various circles.