Pascal Dombis
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30 octobre 2019
The Invisible Generation, 2019-2020
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30 octobre 2019
Crackography, 2018-2019
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16 octobre 2019
The Ends of Painting, 2018-2020
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22 janvier 2018
Meta-Google, 2015-2018
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17 janvier 2018
Post-Digital Mirror, 2006-2019
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4 août 2017
Time Is…, 2017-2019
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20 avril 2017
Post-Digital Blue, 2013-2020
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18 avril 2017
Control, 2013-2017
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9 avril 2017
Meta-Aura, 2015-2017
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7 avril 2017
Color Screens of Death, 2014-2018
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3 avril 2017
Mixed_Grill(e), 2014-2018
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19 septembre 2015
SpamScape, 2004-2020
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19 septembre 2015
The End(less), 2013-2020
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18 septembre 2015
Public Artwork, 2015-2017
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18 septembre 2015
Crack, 2010-2016
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17 septembre 2015
Text(e)~Fil(e)s, 2010-15
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13 mars 2014
Irrational Geometrics, 2005-2016
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2 décembre 2013
Grid, 2009-2017
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12 octobre 2013
Eurasia (Google_Color), 2007-2013
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11 octobre 2013
RightRong, 2007-2017
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27 novembre 2012
Xplosion, 2004-2012
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25 novembre 2012
What_Next, 2009-2012
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23 novembre 2012
Spin, 2006-2012
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17 novembre 2012
Gott_ist_Tot, 2011-2012
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15 novembre 2012
Image-Flux, 2008-2013
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10 novembre 2012
Blink, 2005-2009
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9 novembre 2012
Mikado_Xplosion, 2005-2009
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5 novembre 2012
Hyper-Structures, 2002-2005
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4 novembre 2012
Antisana, 2000-2008
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1 novembre 2012
Rizong, 1998-1999
![The Invisible Generation is a site specific installation in which Pascal Dombis questions our relationship with images and how we see them today. Reading digital images becomes […]](http://dombis.com/wp-content/uploads/2019/10/11_InvisibleGeneration_05A4833-230x160.jpg "The Invisible Generation, 2019-2020")
![For Pascal Dombis, ‘Crack’ constructs a major paradigm of our time. Through the multiple ongoing crises – political, financial, technological and ecological – we observe that the entire Western environment […]](http://dombis.com/wp-content/uploads/2019/10/01_Crackography-A1_0583_490-Copie-230x160.jpg "Crackography, 2018-2019")
![As from today, painting is dead. This sentence was pronounced nearly two centuries ago, in 1839, by the painter Paul Delaroche when he discovered early photographs marking the obsolescence of […]](http://dombis.com/wp-content/uploads/2019/10/1_The-Ends-of-Painting_Mutatio_0297_490-230x160.jpg "The Ends of Painting, 2018-2020")
![Meta-Google confronts William Burroughs’ artistic heritage with Google, the symbol company of today’s soft global digital capitalism, in order to question our relationship with pictorial digital proliferation. His experimental […]](http://dombis.com/wp-content/uploads/2017/04/3_MetaGoogle_Detail_24-230x160.jpg "Meta-Google, 2015-2018")
![Cinema created movement-images and images in movement. When used artistically, the new technologies create fractals, rhizomes and the movements of and in the image. We have gone from the […]](http://dombis.com/wp-content/uploads/2013/12/01_PDM-230x160.jpg "Post-Digital Mirror, 2006-2019")
![The time of digital machines, regulated by their pure presence and their immediacy, is transforming our future, but also our past. To me, the real issue at stake is not […]](http://dombis.com/wp-content/uploads/2017/08/01_TimeCube_detail01-230x160.jpg "Time Is…, 2017-2019")
![Blue is the most popular colour in Western society and it is semantically associated with light, sky, sea, rest, travel, vacation or dream… The words Blue, Bleu, Blu, Blau are […]](http://dombis.com/wp-content/uploads/2015/09/01_Post-Digital-Blue_490-230x160.jpg "Post-Digital Blue, 2013-2020")
![The Limits of Control is based on a seminal text by William Burroughs on the same subject. For the artist, this text related to global surveillance concepts is a source […]](http://dombis.com/wp-content/uploads/2014/05/The-Limits-of-Control-D-2014-230x160.jpg "Control, 2013-2017")
![Meta-Aura is a series of algorithmic nieces in which I explore a simple rule: to stretch line from the four sides of a panel, as one would do with […]](http://dombis.com/wp-content/uploads/2017/05/02_Meta-Aura-X1-230x160.jpg "Meta-Aura, 2015-2017")
![Color Screen of Death is a digital monochrome triptych that draws on traditional notions of painting and digital construction. It takes its title from the Blue Screen of Death […]](http://dombis.com/wp-content/uploads/2018/03/02_TimeIsTimeWas_12-230x160.jpg "Color Screens of Death, 2014-2018")
![In this site specific installation, the walls are covered by a print composed by hundred thousand images from the Google image search on keyword Grid (or Grille in […]](http://dombis.com/wp-content/uploads/2018/03/01_Dombis_MixedGrille_13-230x160.jpg "Mixed_Grill(e), 2014-2018")
![SpamScape is based on the proliferation of words commonly used in the electronic mail spams. The spams are these advertising messages, not solicited and sent massively via emails. Interestingly enough, […]](http://dombis.com/wp-content/uploads/2013/10/02_SpamScape-220x220cm-230x160.jpg "SpamScape, 2004-2020")
![The algorithmically composed film installation The End(less) employs thousands of movie ending footage collected by the artist from all periods of cinema history: from the earliest black and white […]](http://dombis.com/wp-content/uploads/2013/10/Pascal-Dombis_The-Endless_01-230x160.jpg "The End(less), 2013-2020")
![I enjoy working in public spaces. Interacting with the public, outside museums or galleries, is very exciting and a source of pleasure. There is a point when you need […]](http://dombis.com/wp-content/uploads/2015/09/01_PD_Perth_2016_HIGHres_490-230x160.jpg "Public Artwork, 2015-2017")
![For Pascal Dombis, “crack” constructs a major paradigm of our time. Through the multiple ongoing crises – political, financial, technological and ecological – we observe that the entire Western […]](http://dombis.com/wp-content/uploads/2013/10/01_Connected-Crack-2016_02-230x160.jpg "Crack, 2010-2016")
![(…) It procures an intense experience of total immersion into thousands of texts about fashion. In lines dating from the last three centuries, isolated, superposed, big or little, legible […]](http://dombis.com/wp-content/uploads/2015/09/01_DombisTexteFilesSept15_06-230x160.jpg "Text(e)~Fil(e)s, 2010-15")
![That line, I have stretched it in every direction, and I have probed into many potentialities and variations… I learnt a lot from it because a line is not […]](http://dombis.com/wp-content/uploads/2014/03/01_irrageo_vitry_30m_10-230x160.jpg "Irrational Geometrics, 2005-2016")
![Since the Renaissance and Alberti in 1435, the grid has been used as the imaging technique which made it possible for painters to draw perspectives and to represent volume onto a […]](http://dombis.com/wp-content/uploads/2013/12/01_Grid_01r-230x160.jpg "Grid, 2009-2017")
![…) The internet is a decisive source of our perceptions of, and information about, a world in conflicts, ours. Pascal Dombis is one of those few artists who make […]](http://dombis.com/wp-content/uploads/2013/10/01_Google_RKBW_West-East_180x180_Jan12_20-230x160.jpg "Eurasia (Google_Color), 2007-2013")
![In those pieces inspired by a William Burroughs cut-up poem, Pascal Dombis used the words Right & Wrong in such a way that they ended up conjuring up Shamanic […]](http://dombis.com/wp-content/uploads/2012/12/01_RightRong_220x220_New-230x160.jpg "RightRong, 2007-2017")
![Visual forms in Pascal Dombis’ work appear out of the excessive enforcement of autonomous and simple rules. They are not intentionally programmed. He lays down rules and lets them go […]](http://dombis.com/wp-content/uploads/2012/11/01_CrossXplosdion_1162-230x160.jpg "Xplosion, 2004-2012")
![The video installation entitled What_Next ? is tackling ontological questions through answers provided by Internet search engines. These programmes, including the universally famous Google, are used to find simple […]](http://dombis.com/wp-content/uploads/2012/12/01_What-are-we_110x110_2011_detail2-230x160.jpg "What_Next, 2009-2012")
![Spin is a digital generative process based on the endless concentric proliferation of thousands of rotating circles which build up hypnotic structures. The more they spin, the more they […]](http://dombis.com/wp-content/uploads/2012/12/01_RX_ImageFlux_Spin_Vue2-230x160.jpg "Spin, 2006-2012")
![(…) For his solo exhibition at the Claudio Bottello Contemporary gallery in Torino, the artist found inspiration in Nietzsche’s stay in the piemontese capital. The famous sentence taken from […]](http://dombis.com/wp-content/uploads/2012/12/01_God-is-Dead_Bottello_May11_03-230x160.jpg "Gott_ist_Tot, 2011-2012")
![Flux – according to me – is the result of the temporal transformation of an excess of data and information. And I use this flux to conjure up unstable and […]](http://dombis.com/wp-content/uploads/2012/11/01_CensorZip_1_r-230x160.jpg "Image-Flux, 2008-2013")
![These works explore the patterns created by an excessive blinking of simple monochrome images. Starting with a very simple video loop (like a one second white screen followed by […]](http://dombis.com/wp-content/uploads/2012/12/1_Blink4321_xxl-230x160.jpg "Blink, 2005-2009")
![This piece is composed from an algorithmic explosion of more than one million of line-curves that starts from the ground and covers the building façade. Confronting to the architecture, […]](http://dombis.com/wp-content/uploads/2012/12/01_mikado_itaucultural_06c-230x160.jpg "Mikado_Xplosion, 2005-2009")
![The simplicity of the basic data is important for Pascal Dombis. That is why he uses arbitrary geometrical or typographical signs – rather than representational elements or pictorial fragments […]](http://dombis.com/wp-content/uploads/2012/11/01_StongGeminga248_4860-230x160.jpg "Hyper-Structures, 2002-2005")
![(…) Thus, inflection is the very essence of bent and mutant forms, ellipsis, spirals and folds. Endlessly virtual, it only exists in the viewer’s eyes and in the many […]](http://dombis.com/wp-content/uploads/2012/12/1_Antisana_Block_Full-230x160.jpg "Antisana, 2000-2008")
