Apesanteur

Far from being a simple visual exploration, OASIS immersion was born from a desire to create a dialogue with the major trends, social, cultural and human transformations of our time. Our arrival in the cultural landscape in the midst of an unprecedented crisis offered us a unique opportunity to define the « territoire OASIS », by exploiting the full power of immersion to do good, to inspire and to anchor ourselves in the spirit of the times.

Entitled Ces phares dont je me souviens, this first gallery combines perspectives and Quebec actors who have proven to be beacons of light in this troubled period; whether it be the notes and resilience of Alexandra Stréliski, the determination and humility of David Saint-Jacques or the reflection of Sabrina Ratté on our relationship with nature and its conservation.

Each of these works brings us back to our uniqueness and our desire to defend it loud and clear.

Immersive works have this unique power: they transport us, decenter us and plunge us into parallel universes, where reality and imagination intertwine to make us think better. Through creations such as Horizon, Tokyo Light Odyssey, Quiet Pond and Journey, the invitation to travel takes on an introspective and sensory dimension.

Tokyo Light Odyssey projects us into a bustling megalopolis, where neon lights and perpetual motion convey the irony of urban life: a hyperconnected world where isolation remains paradoxically omnipresent. Horizon, meanwhile, reminds us of the quiet power of distance, that vanishing point that both attracts and soothes us.

In Quiet Pond, time slows down, inviting us to step out of our comfort zone, to listen to the silence and to feel the power of nature in contrast to the daily hustle and bustle. Journey, finally, guides us on a luminous journey, revealing this inner light that lives within us and that only asks to be discovered.

These journeys are not just visual, they are transformative experiences, doors opening onto other realities, suspended moments that resonate and remain. Because deep down, traveling is also learning to see differently.

It is often said that one of the main attractions of immersion at the OASIS is to be able to wander at one’s own pace through visual and sound narratives, and to feel our gaze on a work transform according to our position in the gallery. Like a rebirth. And this is essentially what the works Recursive Reflections, Notes on Blindness, Suivre la note and New Land relay to us as a perspective.

Julius Horsthuis’ Recursive Reflections projects us into an infinite fractal universe, where moving forward means diving into the unknown, embracing change, and seeing beauty emerge from chaos.

Notes on Blindness immerses us in a world where perception is transformed, where each sound becomes a compass, an invitation to move forward differently. In this sensory exploration, movement is not done with the eyes, but with the mind, pushing the limits of the invisible.

With Follow the Note, Alexandra Stréliski takes us on an inner journey where exhaustion gives way to rebirth. Music becomes breath, the fragile momentum of a tired body that gradually finds its own cadence, reminding us that progress is never a straight line, but a tangle of doubts and breakthroughs, a melody that grows in intensity until a luminous liberation.

Finally, Alex Le Guillou’s New Land invites us to an inner and outer exile, a quest for renewal where each step, although heavy with uncertainty, leads to an unknown and promising land. It is the path of a future to be built, where departure becomes the first act of the possible.