Artistic propositions

2013

Cartographies - Poles & Fluxes

3 items out of a series of 19 paintings, 5 sub-series: "Trajectorie of fluxes" (4 items), "Poles & Fluxes" (4 items), "Triolism" (3 items), "Duo" (3 items), "Pole in an indefinite space" (5 items), black ink on raw linen, approx. 34cm x 53cm, November - December 2013.

All these drawings adopt a similar aesthetic and a conceptual codification mostly composed of fluxes and poles shown in various scales. These imaginary cartographies manifest the notion of «being in the world» (cf. «être au monde»): a pole at an indefinite location – possibly where the spectator or the artist is positioned - or situations where they meet (except for the first group of the series where there are just thin tracks, almost imperceptible at a certain distance). Different formal and interpretative apertures emerge from these shapes, set free in their own proliferation. In this materia prima, intensities are floating, moving and are running around - these, as well as occurrences, are crossing and forming us. In congruence with poetics, taking part in this flow and influencing the vibrations, densified by our agencies remains to be our ability.

Creative Acts

series of 3 oil paintings on raw linen, I: "The Demiurge" (64 cm x 96 cm), II: "Collective Act: Circulation of Intensities" (64 cm x 96 cm), III: "Semi-Cycle" (114 cm x 143 cm), March - June 2013.

This pictural work, using figuration in a symbolic perspective, explores and shows different aspects of so called "processes of creation", specifically linked to the sphere of art or, in a widened sense, to gestures and expressions of individuals in situations met in the existence. By these representations of human fragments and ordinarily hidden movements of energy, this series of paintings evokes this background of the world where ideas are moving and intentions taking shape.

 

Here I am

video loop, 5 min. & 42 sec., ; March - August 2013.

 

This video is based on a metaphor which manifests an analogy between skin and a wall. It depicts some aspects of the economic situation - in the freudian or energetic sense - of an indefinite human person. Some textual fragments tell more about this theme, lending a voice to a personified flood barrier. In this way, these sequences demonstrate exchanges, taking place between these relative spaces called interior and exterior - mainly mental processes which take place in this «in between». Various forces are in action here, in this interstice where symptoms and utopias overlap until they succeed at creating nonetheless.

 

Modes of being: a typological Variation

5 three-dimensional prototypes and a series of drawings, watercolors on A4 sheets, installation, Bachelor Diploma's project, january 2013, ECAV.

details of some prototypes: cupper & tin, white and nude stockings, acupuncture plastic ears / rose wool, hooks and sugared water / synthetic optical glasses & cupped / cupper & tin, different pipes, nude stockings, fabric;  inside: lots of tiny mirrors and glintering golden paper.

 

These objects - neither veritably sculptures nor even masks - evoke the perceptive human apparatus so that physical senses resound with psychological faculties. They were conceived as modelisations of attitudes considered in the field of self-/interpersonal relationships and perspectives with which a person perceives the world.  Each object includes playful changes in texture, form, density and opacity. This series tends to shape a collection of modes of being while displaying them as constraints, barriers and filters, as well as openings and attempts of expression. Parallel to these objects, a series of 35 drawings carries on with this typology, suggesting an unending development of the project. Laid out together in space in order to form an imaginary collectivity, these prototypes, hung up at the average height of any spectator, contain one person at a time. The installation offers the viewers the possibility of projecting themselves mentally into diverse attitudes or to actively participate by wearing exhibition pieces themselves. The precarity and fragility demonstrated by those pieces mainly made out of salvage can be considered as a way of «dealing with the given» also alluding to attitudes often adopted in life.