This work consists of a series of short musical films and videos with no narrative coherence but with clear cohesion. It is about an indeterminable investigation into magic and the mysterious, strangeness and the fear for the unusual in the ordinary things around us that we consciously or unconsciously ignore. What kind of electric life for instance is there in two old-fashioned vu-meters, in a moth or in fireflies?
Rosier convincingly gives the images the naive and amateuristic character of a home movie. The lens is no more than a means of registration. By investigating a space or following a sign she creates the real mystery for the viewer. What is going on? What has the person handling the camera seen or felt? The images are pure and unmanipulated yet seldom divulge what is actually taking place. There is a shot, someone behind the camera falls down. Perception is not everything. The music and found footage are accurately composed and edited, in contrast with the visual material. Mathilde Rosier works in musical terms, in some pieces the soundtape is the only author. You could perhaps argue that two kinds of moments crop up in this youthful work: time and place coincide for a moment and something happens or time and place coincide for a moment and nothing happens. Now and then you think you have caught a glimpse of a third kind but it could also be about the crack between both moments, an inexplicable something or nothing, stranger than kindness.
– Philippe van den Bossche
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Mathilde Rosier ° 1973 Chatou, France
Lives and works in Amsterdam, Netherlands
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