Fortunately, the innumerable attempts to classify art fail more often than not. Defining genres, media, social position of the artist, artistic movement, or historical context, may make for a good story, or an interesting critical exercise, or even a nearly scientific excursion, but it does very little to enhance the experience of being near, in, just there for ‘that piece’ that made an impression on you, pleased or annoyed you, or in other way affected your daily routine.
It is easy to suspend all classification attempts when talking about multi-discipline artists, whose work transcends traditional genre and media boundaries, even postmodern sensibilities, and becomes a pure exploration of art.
Such is the case of Pierre Ajavon, whose creative and academic journey seems to be informing his practice.
Moonage Daydream #27. Digital Video. © Pierre Ajavon
Composer, musician, and a sociologist whose main area of research was the psychedelic movement and its cultural impact, Pierre Ajavon moved into video art when he saw the possibility of bringing the sound and moving image together.
His artistic vocabulary is rich and versatile, and in no way limited to the psychedelic subject-matter. Working to the accompaniment of D. Bowie’s track Moonage Daydream (1972) for his Moonage Daydream #27, Pierre created a piece that not a mere impression of the song, but a visual field traversed by the whiffs of the previous centuries’ cultural symbols. One can’t help but recall Carroll, and Buñuel, surreality, fantasy, and serialization as a production tool of metamodernism*.
Be it as it may, Pierre Ajavon speaks his language of sounds and images that is understood without translation into words. He “favours an intuitive method of editing through association of ideas or printing overlays similar to automatic writing (from artist’s statement).”
Pierre lives in Paris and exhibits internationally.
His piece Full Moon, was selected for the Moving Silently show in November 2018 (Ephemerye at Essanay Silent Film Museum).