Jocelyn Philibert studied communications at the Université du Québec à Montréal (1975-1978). An installation artist, communicator and author, he is particularly interested in architecture, urbanity and environmental issues. His works are composed of salvaged objects and various natural elements, thus combining the memory of his frequent walks in the forest as a youth with his experience working in a factory. La Coupe à blanc (1993) is a strongly representative of this approach. In more recent years, Philibert has been merging disciplines in “recordings” that he creates after choosing a site during the day and returning in the evening to take photographs in the dark. These successive, unfocused images create the impression of artificialized nature, an out-of-sync reality. In the end, the final image resembles a photograph but is put together on a computer.
SEE:
« Jocelyn Philibert : Vastes vestiges » by Lise Lamarche, ESPACE, vol. 6, n° 4, p. 24.
« Jocelyn Philibert : Genèse en style libre » by Christiane Baillargeon, ESPACE #74, p. 33.
