Lermusiaux was born in Fegiac, southern France. He studied at the Fresnoy-Studio National des Arts Contemporains. Firstly, he began as a filmmaker, with motion pictures such as Le levre fendue (The split lip), The passengers and Le jour où le fils de Raïner s’est noyé (The day when the son of Raïner drowned). His work is mostly about the material world and how it has rhythms in connexion with human presence.
The innovative use of X-Box Kinect to investigate the landscape. Based around a webcam-style add-on peripheral, it enables users to control and interact with their console/computer without the need for a game controller, through a natural user interface using gestures and spoken commands.
“L’Empire” is about the presence of the spectators and their movement in front of the screen, to unveil the image and the history of a place long lost and ruined.
It is the landscape with its changes and evolution. Technological evolution and scientific research have given rise to an awareness of the territory in which we live and the landscape too.
As does the technological sector, also the artistic field makes use of a series of instruments to conduct research and experimentation and which are able to give us a wider vision, extending the perception of the individual to the surrounding environment. It’s precisely these new instruments which permit a deeper understanding and know-how of the environment and the landscape.
If, in an initial phase, the aesthetic study was associated with the analysis of the territory and often with a geo-anthropological matrix, obtained through field studies and audiovisual recordings, the research of artists immediately started to move in new directions; the use of unconventional instruments – either transformed or reinvented – has allowed us to perceive the phenomena that are under examination. Devices such as video cameras, which can take 360 degrees shots or self-sufficient kinect devices are able to give us a new, completely different and mysterious idea of space/landscape.