& MY ARTIST’S ONE: PYARE (prononced P-ia-ré), which means “the beloved one” in Hindi.




Because of the Trump administration I now reside on a boat in Paris. I am still as passionate for VR as the 7 years-old child I was. 




What are the most inspiring aspects of my work in VR?

I combine very personal stories and founding myths with the paradox of letting the visitors take possession of “my” experiences. In a gentle and nurturing way, I allow room for individual differences, rather than impose limits by telling people what their experience should be.


What is the blind spot in VR, something that people seem to overlook?

Moving away from the tech-talk obsession, VR before VR attempts to define ancient roots, common branches that virtual reality have grown from. Beyond a technology VR or XR is the humanity dream to master reality and control dreams. The presentation will dig into the history of forms and arts like cave painting, Pompeï frescoes, Persian painting and cyberpunk novels.


Why did I become a VR filmmaker?

In 2010, while reading Alejandro Jodorowsky I discovered the “lucid dream” experiment (as an equivalent of the Conscience), a moment when the dreamer realizes he is actually dreaming. It offers to anyone the possibility to control not only their actions but also the dream itself and its story. Being able to realize whatever I wanted has been a revelation: dream and reality can communicate because the same agent, my conscience, is the link between these two worlds, so far away and so close. After this, I’ve been looking for a medium or a media to realize this “dream”. Through a friend, I discovered 360° video during  CNN reports on the Haitian earthquake. It was the first time to my knowledge that this news network tried this. For me, it became clear that VR was my right path.


Do I think VR is a new niche, or is it a taste of the future?

According to me, VR has a natural place in visual arts history, just like the apparition of photography is following painting. It’s the utopia of a “total” cinema or post-cinema, one able to reproduce all sensoritory data. André Bazin quoted in 1946 Barjavel: “If cinema in its infancy hadn’t had all the attributes of a total movie of tomorrow, it was against its best wishes and because fairies weren’t technically able to realise it, no matter how much they wanted.”  Or you could state that cinema’s true ambition is integral realism, the re-creation of the world, the whole perfect reproduction of reality.