Thomas Israël (Brussels, 1975), a Brussels-based artist, offers installations, sculptures, video scenographies and performances that are immersive, generative or interactive. Born from the performing arts, his atypical and transdisciplinary approach to digital arts revolves around societal themes, the body, time and the unconscious. After training as an actor at INSAS (1998) and a career as an actor and designer in contemporary theatre, Thomas Israël trained in video editing and interactivity (Technocité 2004-2006) and entered contemporary multimedia creation with Horizon TröM, a performance-installation on dream and death. He was quickly invited with his videos and interactive installations to international museums (MoMA in N-Y in 2006 where he won the "MoMA Online Community Art Project - The Residents Re-Viewed", Palais des Beaux-Arts de Lille 2008, Les Abattoirs de Toulouse 2009-2011, Europalia China 2009, Musée des Beaux-Arts de Mons 2016, Musée National des Beaux-arts du Québec 2015, Haifa Museum of Art 2017, Musée Juif de Belgique 2018) and digital art festivals (Vidéoformes 2006-07, Transnumériques 2006, 2008 & 2014, les Bains Numériques 2009). In 2007 he created his first video sculptures at the Jozsa Gallery, a work he will continue in Shanghai (Island 6 2007). He has presented his works in numerous contemporary art fairs with the Galerie Charlot (ART Brussels 2008, Scope Basel 2013, Art Karlsruhe 2013, Art Paris at the Grand Palais 2014,) as well as and at the Galerie Bruxelloise Aéroplastics Contemporary (2009). It is regularly supported by the Commission arts numériques de la Communauté française (There is no spoon 2007, Méta-crâne 2009). Since 2010, institutions have been commissioning him to do works for their premises (Holliday Inn Brussels Airport, International Youth Bureau, Museum of Migrations 2019). He likes to project his video installations on surfaces full of stories such as the prehistoric cave of Mas d'azil (Dreamtime, 2009-11), the stone quarry of St Maximin (Day of the Heritage 2010), the Pierre Cardin pavilion (FotoFever, 2011) or the Abbey of Villers (Digital contemplations 2018). Skinstrap, her first body-mapping performance, is the winner of the prestigious Japan Media Art Festival 2013. Since then, his interactive body mapping performances on color, vision or cancer tour internationally on theatre stages and in the medical community (Brazil, France, Scotland, Belgium, Costa Rica, Mexico, Canada and the United States). With Rhizome (Quebec), he has created several multimedia poetry shows in collaboration with poets and musicians. At the same time, he creates video environments that are sometimes interactive or generative for opera, dance and theatre. With artists such as Jacques Urbanska (Percept 2009) or choreographer Manon Oligny at the Société des Arts Technologiques de Montréal and the Centre National de la Danse in Paris (2006-07), Drip-hop with Charlerois-danse in 2012, a monologue by actress Stefan Bissot at the Théatre Varia in 2017, 3 operas with director Florent Siaud at the Opéra de Bordeaux (2018), Tokyo Opera House, Théâtre Impérial de Compiègne (2019) and Théatre de l'Athénée in Paris (2020). In 2018, Pelléas et Melisandre from the Bordeaux Opera House was voted 3rd best classical music event in Japan by Ongaku No Tomo. In 2019 he directed, staged and videotaped his first opera, the world premiere of Futari Shizuka - The maiden from the sea, by the famous Japanese composer Toshio Hosokawa for the TIMF Festival in South Korea. His monograph Memento Body is published in the Lettre Volée in 2013. He is represented by Galerie Charlot since 2010 in Paris and Tel-Aviv with 3 monographic exhibitions. It is in the collection of several important museums such as MoMA in New York, Les Abattoirs in Toulouse and Le Musée Juif de Belgique.