The work of Dominique Petitgand has taken different forms
according to its diffusion process: CD editions, sound installations
and concerts in the dark.
Dominique Petitgand defines his work as "mental
landsapes and stories". He develops his work
from recordings of words, rests, breathings, sounds and musics
that he composes, uses, breaks up and cuts. He makes an inventory
of voices, gestures, humors in an obessional way printed
by musicality in order to consider a speech, a sate or a
lack. He plays on the articulation of components making mental
images appear.
Through his spoken and melodic sound plays, Dominique Petitgand
offers an original story who belongs to the auditors.
Each
"sound play" (I call them like that, I even say: "spoken
and
melodic sound plays") I have done tells something
specific and the shape of each one leads to a specific
issue too.
As my work is a mix of art, music, writing, montage and
narrative, it is important not to close our multiplicity
of receptions.
I
do not want to stimulate certain feelings or make the auditors
travel.
Travel is a little too joly. What I offer can sometimes
be quite brutal or demanding, it is certainely not a calm
walk. Talking of a calm walk, I was rather looking for
the contrary and the auditors' reflection. I wanted them
to be
disturbed and affected.
But each of them differently must find the words to match
their feelings and their reflections and to find their
own context. I explain myself: I want to offer the most
bare,
neutral, out of any context and time thing (out of any
individual, social, geographical, historical or curent
events references)
so the auditor can fill with his own means (spirit, memory
and own life experience) the blanks, the rests, the holes
in my stories.
Sometimes rests are usefull, they allow the auditor to
think about what he has just heard, they often have an
amiguous
status (is it the person who has shut up or is the play
finished?), they give a context to the diffusion (you can
hear the place
in these blanks), they can at last draw the face of fear
(the voice stops, it is cut off).
I want the auditor to think every second about what he
is listening to.
A neverending tention.
Sometimes melodies (that I call "mucical atmospheres" more
than melodies because they often are flat and straight
forward) play a dramatic role, they can be rests, tensions,
counterpoints,
impulses or guides for voices, and play on the auditors'
sensibility.
The diffusions that I offer is a mix of old and recent
plays, in a thematic order, there is a line which goes
from one
play to the next one, but this line is suggested and
hidden.
Dominique Petitgand
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