Around the time of his graduation from the École des beaux-arts de Nantes in 1988, he began to create his first self-filming works, staging stories featuring himself in burlesque mode. In these short skits, Pierrick Sorin examined both his everyday life and contemporary art. He developed shooting techniques to film himself using a Super 8 camera. The advent of video enabled him to create montages in which he played all the characters. Before digital technology and the democratisation of recording techniques, Pierrick Sorin was creating work that can be put in perspective with the much more recent phenomenon of the selfie. In some of his installations, viewers become participants. These works, produced live, create a space for reflection in which viewers are invited to question their place and role. In 1995, he created his first holographic installation, in which a filmed character is seen moving within a real setting. In the tradition of film-maker George Méliès, Pierrick Sorin affirms his taste for the poetry of illusion and the magic of images.

Beginning in 2006, he staged operas whose creative principle was based on the use of video and live special effects. He sees the stage as a space for live cinematographic creation. In 2009, he wrote a play entitled 22h13.

Credits:
- Pierrick Sorin, Portrait en atelier, 2024 © Musée d’arts de Nantes, photo : Cécile Clos