Laura Gozlan's practice revolves around experimental films, videos and visual installations assembling documents, sculptural environments and models. Her work is centered on medium-based experimentations, involving collecting and archiving found footage, manipulating, cutting, superimposing and editing visuals with a strong symbolic potential to create a wide range of meanings and references. This discipline opens the viewers’ mind on the profound ability of the cinematographic images to stimulate the imagination and produce palpable sensations. Gozlan appropriates images borrowed from genre cinema and scientific films that she rearranges in installations, usually playing this fragmentation and diffraction. Interested in scientific utopias and the communities they federate with a predilection for their representation in cinematographic subgenres, the artist explores the links between counterculture and posthumanism, their founding myths (New Age, Cybernetics) and their dystopias. In her complex installations of images, sounds, glass, light and mixed media, Gozlan seems to create an environment matching the immersive conditions for an altered state of conscious, usually reached by the use of psychoactive substances. The artworks propose a way out of the comfort zone to expand awareness and instinctive knowledge, may that be about occultism, dream, fiction or reality.
In Remote Viewing, presented for The Charon Cycle, hypnotic visions spread on the film such as drops of water, reminding the mechanism of synaptic connections. The juxtaposition of these abstract elements with scenes of vintage movies raises the question of how editing creates meaning by association of ideas and images. A take on the Koulechov effect.