Field of Mutations
A multitude of objects out of different technics regularly used in my artistic practice is gathered in Field of Mutations, an installation oscillating between a quite classical presentation making use of several white pedestals and a certain fragility considering the ephemerality of some pieces and the waste materials. Here, a few found objects – a piece of sanding paper and its heap of red pigments laying in the middle, a rusted bicycle chain, a paper roll out of a cash register covered by thin lines and an undefined curved plastic object – are holding a dialog with unfired clay sculptures and a video projection.
A series of three-dimensional organisms, which unceasingly modify their actual forms in a continuum of time, embody an ordinarily imperceptible movement. The rose colored form on the doric column stands for the ironical result of the hectic process of realization which is perpetrated into the video work. In this projection, accompanied by a saturated noise reminding of a case of emergency, a pair of hands is manipulating an apparently bloody mass of clay. These gestures imply efforts towards renewed settings, temporary crystallisations of a shape which constantly has to deal with collapses of its own matter.
The whole composition is built as an open and panoramic landscape in order to generate many paths of interpretation in the viewer’s mind. At the same time, it concentrates itself around a blurry centre, the notion of “becoming”. This word, as wide as a blank page, is therefore often relegated to the metaphysical realm. Those chosen fragments manifest diverse aspects of this term, definable as a constant process of transformation.
The ensemble aims to put light on the human potential to model subjectivities, to draw personal as well as collective trajectories. In the revealed fluid universe, this exuberant immanence field, what kind of operations could be triggered to liberate the current of life where it might present points of interruption or decrease? How to reactivate, in our times, in each situation, the crucial potential inherent in the artistic activity, its aptitude to unleash possibilities?
Faking the move
Undefined I, undefined piece
At the heart of this work, there is an undefined «I», a figure turned into the image of a generic human by a body suit hiding all personal features. This lonely performer is reciting, singing and shouting a textual script through this membrane of fabric. This declamation is accompanied by rhythms directly produced by tap dance shoes. It is a constant development of music, seen as a metaphor of the notion of becoming. The lyrics regularly repeat «here and now» as an anchor. Meant to be «meta», these depict diverse elements relating to the performance as a constructed situation: the undefined figure and her actual actions, her position towards the audience and her no longer secret intent to not let this performance remain a spectacle. Without having any precise melody or gesture to mimic, each spectator is solicited to use his own voice or tap the floor, adding elements to the running show. Therefore, its title takes on its full meaning as the piece effectively stands as an indefinite event, possibly varying each time of its occurrence.
This moving artistic proposition relates a repetition of patterns in the actual experience of someone. This person on board sees the vehicle successively taking off & landing in an interspersion of blinding lights, in panic, at increasing speeds and at various angles. The loop unceasingly unfolds and the subject, in the manner of Sisyphus, follows this trajectory, closer than the climatic changes.
Did we lose the chorus ? // Avait-on perdu la ritournelle ?
«Did we lose the chorus ?», translated from the french «Avait-on perdu la ritournelle ?», refers to the deleuzian concept of ritournelle, a melody or a rhythm repeteadly produced by an individual or a group in order to mark a territory. This single sequence has been shot in the country, at a location temporarily chosen by migrating chaffinches. Throughout the movie, the person filming is easily noticeable due to the noise made by the digital apparatus as well as breathing sounds stemming from the camera operator, struggling to follow the hectic motions of the flock. This sequence is superimposed on the musical piece «Epode». This «Chronochromie» composed by Messiaen combines 17 voices of various birds and matches them with the nervous swirls transporting birds from trees to sky, and vice versa. This collectivity obviously swirls into confusion as their muddled shifting potentially resonates with our society and its current state.
This acoustic piece, inspired by rites of traditional societies, emerged from the lecture of the chapter «Ritournelle» in Mille Plateaux, Tome II, an essay co-created by G. Deleuze et F. Guattari. The performance - conceived for at least 3 people - is build on three phases. These denote aspects of the Ritournelle as they are described in the book, where the concept is strongly connected with the production of territorial arrangements. Initially, each performer wanders alone in the space humming a little tune for himself. This personal chant acts like a psychic shelter, defining a place distinct from the chaotic world around. Then, the whole group gathers in a smaller perimeter to found a common territory. Here, each member gives his own melodic or rhythmic «seed», adapting itself to the flow of the ensemble, with the resulting improvisation progressively reaching an harmonic state. At the end, the performance is open to any spectators who wish to participate.