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PATRICEOLIVIERACARDY portfolio
(metavisualartist/meta3Dsculptor/metamusicproducer)


patriceacardy@gmail.com

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SCRoLL DoWN
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E X T A T I Q U E




3D Dream Paintings Reach Ecstasy in This Music Video.



A series of digital paintings explore the idea of “ekstatikos” in Patrice Olivier ACARDY's new music video for The Wanderer’s track,
“E X T A T I Q U E.”




A 3D sculpture represents the permanent tension between digital sound textures and the “real sound” of musical instruments in filmmaker Patrice Olivier ACARDY's new music video for
The Wanderer’s new single,*
“E X T A T I Q U E” (via InFiné). The video, as ACARDY tells The Creators Project, is envisioned as a series of digital paintings that explore the idea of ekstatikos, or the ecstatic.
“[It’s about] the ‘misguidance of the mind’ and the mystical state of full union with God,” ACARDY explains. “More than a single title, it translates an idea of infinity, a state of self-abandonment and an alliance. Both in music and in video is translated the idea of duration, detachment and full confidence.”

Working with The Wanderer's conceptual input, ACARDY designed each frame as a painting using 3D and fractal rendering techniques. He also tried to give each image and the overall procession of visuals a poetic tone that matched the The Wanderer’s music.

“I'm very close to surreal artists,” says ACARDY of his approach to art and video. “The surrealists do not seek to interpret dreams or the unconscious—they reveal them aesthetically. It is a kind of dream creation through painting.”

Like the Surrealists, ACARDY tried to put himself in a dream state to create the visuals for
“E X T A T I Q U E,”
as well as the EP, ArchiTextures. “The idea was to talk about the human being and its inscription in an environment,” ACARDY explains. “The interpretation of the visual elements will remain at the discretion of the listener.”

written by   DJ Pangburn
vice creators

Mark

outre_part



Interstellar-Inspired Fractals Open Up New Dimensions


A digital artist is creating mind-bending fractals for NASA.


︎outre_part




Art and computation could be a portal to better understanding the universe at large—at least, that’s what NASA and French artist Patrice Olivier Acardy are betting on. With NASA’s support and a custom-built helmet, Acardy is currently setting off on “secret explorations and missions” inside the world of fractals and documenting his voyages on Instagram.
The project, titled Outre_Part, combines the French expression autre part, meaning “elsewhere,” with the adverb outre, which means “beyond, further.” Acardy’s otherworldly fractals, like the ones he released last year with visual EP Critical Density, caught the attention of someone at NASA. “For him, I was doing the same thing that the astronauts who work with them do: navigating, exploring, and witnessing the unknown.”

The NASA researcher in question remains anonymous for now, and his research, which is in its early stages, is still shrouded in mystery. The overarching idea, however, is essentially the premise of Interstellar: “There must exist a multitude of universes on other planes, connected together, but elsewhere, outside of the solar system or outside of the cosmic universe as it is defined,” summarizes Acardy, who is one of several people providing data to help support this budding theory. “My job is to ‘visually’ demonstrate the existence of other forms of life, with unknown textures, materials, energies, and technologies that exist in this fractal universe.”
“Why would this fractal universe not be a real place that exists in time and space? If we can generate computer images and videos of this world, it must exist materially somewhere, or be realizable,” adds the artist. “Why not dedicate ourselves to imagining this universe, and in doing so, create it?”

From his home on the island of Réunion, way out in the Indian Ocean, Acardy plugs in the six USB ports that connect his helmet to his computer, and dives into the great beyond. Thanks to software he has created that groups together other fractal applications like Chaotica, XenoDream, and Apophysis, he can tinker endlessly with parameters like the size, position, texture, weight, and shape of the fractal. After adjusting the color palette, he then waits for the rendering, which can take anywhere from 15 to 1,440 minutes.

In the short term, Acardy needs to finish customizing his helmet and add more VR functions. He also plans on exhibiting the work regularly, and delving into experimentations with video, sound, and 3D printing. Beyond that, he vows to post his work to Instagram for as long as he can, whether or not NASA is involved. He says, “I feel like this is the project of an entire life, and I have to share it with people.”

written by   Noémie Jennifer

vice creators



ultra_part



'Prometheus' Meets 'Dune' in a Series of Stunning Fractals


In a new series of striking and strange fractal visuals artist Patrice Olivier ACARDY journeys through the textures and surfaces of an imagined alien world.


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Surreal, fleshy, porous, alien; these are the textures explored in the latest 3D fractal images of Reunion Island-based artist Patrice Olivier ACARDY. The theme behind the visuals is a journey into a fictional "mineral organism planet with porous surfaces like bone."

In this bizarre yet stunning world, ACARDY notes that the wing of a raven is "hydrocarbon-colored" with a texture of "feather, volcanic rock and wood." Looking at the visuals, you could be inside an organism traveling through its biological systems or looking at the architecture of far flung civilization, just as much as you could the surface of an alien planet, where the scientific laws of our world hold no sway.



These fractal fancies were created using Mandelbulb 3D, where ACARDY used the software's bank of fractal forms to create new hybrid versions for his exotic macrocosm.
"The combinations are endless," ACARDY tells Creators. "On my hard drive I have huge collections of textures like tree/wood, water, shell, plastic, metal, everything. Every time I see a texture in nature I take a picture with my smartphone then I study it by observation to understand."
ACARDY likens the ability to be able to create a 3D fractal universe and glide through it in Mandelbulb 3D to the sensation of building the cosmos. "Ridley Scott's Prometheus movie talks a little about this," notes the artist. "And maybe that one day, in the future, with the evolution of technology, the human being will be easily able to really create new universes and new life forms by fractal combinations. Who knows?"

ACARDY also cites films like Voyage of Time: Life's Journey by Terrence Malick, the novel Galactic Pot-Healer by Philip K. Dick, works "Rubber Johnny" and "jaqapparatus 1" by Chris Cunningham, HR Giger paintings, street artist Lokiss' paintings, and Dune by David Lynch, as inspirations.

"From an aesthetic point of view, I was looking for something quite xenomorphic (Ridley Scott's Alien)," explains ACARDY. "I mean that I was looking for things whose final appearance would feel both organic and mineral at the same time or else whose final appearance would be like something 'unlisted' or 'uncategorized' but currently in existence somewhere. I try most of the time throughout the process of creating fractals to mix things that are not necessarily done to go together, sometimes it works and when it does not work I'm looking for how these things can better blend."



written by  
Kevin Holmes
vice creators