Alexandre Joly's artistic development was influenced by Andrei Tarkovsky's "Stalker" and Jim Jarmush's "Dead Man". The world in these films appears to be a mystery, fascinated by its mysteriousness, but still doomed to remain unexplored. It is well-known that in Tarkovsky's film both scientific knowledge and artistic work fail in a desperate attempt to unravel the mystery of the world. The mystery of life should not be deprived of its charm. It should be accepted. It should be lived. This is what Joly is trying to embody in his art. His 'Grande Cérémonie' ('Big Ceremony') is actually a major example of returning to mythological and poetical thinking where syncretic ritual is considered to be more valid in a cognitive sense than lab-knowledge.
However, it does not mean that he denies rational analytical knowledge. He experiments a lot. He uses in his works new technological developments (including his own). For him to go back to myth means to assimilate rationality with poetry, to recover fantasy in science, to make it part of an interdisciplinary syncretism. This is why wires and piezo have not only a technological function, but also a visual one: their expression resonates with shapes and plasticity of the materials. As expected, Joly's mythological and poetical syncretism, as it initially existed in myth, combines sound and picture. Sound and plastic image, traditionally considered two different forms of art, encounter each other in his works, giving him a reason to call his works "paysages sonores" (sound landscapes).