Chloé Mossessian grew up watching V8 camera footage that her parents took while living in Paris in their 20s. These old tapes show the story of a young couple enamored of life, love, and nature.
Chloé conceived of "Concert for the Sun" as a cinematic journey that is as inviting as it is emotionally raw and personal. The film combines her parents’ footage with Chloé’s most recent video art, much of which explores the language of the Sun both as an instrument of linearity and form as well as a luminous reminder of that which is ephemeral, chaotic, and formless: the nature of our own being. At its heart, "Concert for the Sun" is a celebration of vital experience in spaces both familiar (autobiographical) and strange. The intention is to erode the distance between viewer and subject— to produce a soothing confrontation.
Chloé’s husband, Henry Mittnacht (a.k.a. Hank Midnight), recorded the soundtrack for the film: one interweaving songs and melodic sketches with the music of the natural world— field recordings taken in southern France, Prospect Park, rural New Jersey, and the wilderness of the Adirondack mountains.
Chloé Mossessian is a French visual artist, filmmaker and producer. She graduated with honors from the Ecole
Nationale Supérieure des Beaux-Arts in Paris (2016) after receiving a grant to study Film at The Cooper Union in New York.
Chloé Mossessian’s work explores the language of the poetical through film, photography and installation: it attempts to transform everyday scenes to the brief second of hypnosis, wherein time loses itself inside the living image.
She regularly exhibits her work in France and in the US, and has assisted acclaimed photographer and director Raymond Depardon (2017).
Chloé Mossessian and Henry Mittnacht form a husband-wife creative duo, working with several mediums including film, music and video art.
Chloé Mossessian's work explores the language of the poetical, mostly through film, as well as through photography and installation: it attempts to transform everyday scenes to the brief second of hypnosis, wherein time loses itself inside the living image. It invites viewers to confront their own shadows, impressions, and reflections in spaces both familiar and strange.