« COCOONS ; Meshes & meshing, Variation around Time .»
To fold, to stitch, to unstitch, to weave, to do and to undo...
This was Penelope's gesture, the gesture of time, the gesture of waiting,
The repeated gesture of the craft marks the passing of a quasi-neurotic time,
Again and again, meshes criss-cross and weave
They weave around the void
The void becomes space as it finds its shape,
A space in which anyone may live however one wishes.
Recycled paper, cut, weaved and stitched over a structure of wires. Suspension.
H :220 x l : 130 x P : 140 cm
H : 160 x l : 120 x P : 120 cm
H : 140 x l : 110 x P : 110 cm
Date of creation : 2007.
Description: the stitched paper mesh is used to create three giant cocoons. Two cocoons are open to let the visitor enter. Working with recycled, cut, weaved and stitched paper is also a variation around time, as the weave builds up to form a volume around the void, and in so doing plays with the surrounding space.
« TEDDY BEAR, Art in its Infancy »
The gesture of a craft, the primary gesture of weaving together so as to create shape.
To use a recycled material: paper from old magazines or catalogues…
To deflect, to transform.
To cut, to weave, to crochet that paper, for hours, for weeks, for months…
9 months to shape up the figure of a teddy bear.
Teddy Bear : first toy, first companion…
Bringing back our childhood memories of its comforting fur, the oversized teddy bear is both welcoming and frightening. Its open arms are like an invitation, but its folded and crocheted paper take away its softness. The quartered teddy bear rises in the space above our heads.
Technique : Recycled paper, weaving, wiring.
Format : 250 cm X 230 cm.
A structure which evolves from mesh to network.
Through the addition of modules and the repetition of the gesture
Weaving along the passing time an interstitial membrane to tease the surrounding space
A wretched act ?
In situ installation.
NANCY in the Days of the Lights - 18 artists for XVIIIth century, heritage and contemporaneity.
Order from the city of Nancy for "Heritage Night", Stanislas Square, September 2000.
Installation of 18 two-meter-wide cubic lanterns on Stanislas Square in Nancy.
Description: Dreaming of alcoves, dreaming of architecture
The individual project on each cube forms part of a global project, which organises all elements. From a visual and thematic viewpoint, the design was thought through starting from the site for the installation - Stanislas Square - with a specific focus on the character of Stanislas.
The set is made up of three points in time. Three paintings to reflect the lightness of style and of manners, using colours, patterns and arabesques...
The dynamism of the surfaces offers decorative excess within the boundaries of a classical structure.
The arrangement of the cubic lanterns on its floor echoes the structure of the Square and emphasizes its rigourous order.
Dreaming of alcoves
Monumental view in profile of the image of power, which masters its pose. Behind appearances, the viewer can glimpse into the intimity of Stanislas' papers and letters, some for appointments in alcoves ?
Behind the Scenes
Time for intimity, of the outside remains only a memory...
Those little boudoir stories, which are more fantasized than actually seen.
Putti and winged subjects
Surrounded with azure skies, the head in the cloud defines space. Enchantment from these "gates, which have no other reason to be than to weave in the void golden and rusty arabesques"(Raymond Schwab).
Un-machined boards (peeled wood) with a smoothed-up surface, the thickness of which varies from a few millimeters to three centimeters.
The steles, held into a pedestal, rise up in their vertical slenderness up to various heights (varying from 112 to 240 cm) and have the width of a torso (between 45 and 55 cm).
The surface on each side is treated into a "clair-obscur"(chiaroscuro).
Technique: encaustique, pigments and wood dyes.
Each piece must be considered for itself and in relation to the group. The steles bring rythm to the space into which the visitor is invited to stroll and wander. The rythm varies depending on the visitor's position.
The main process is that of impregnation. The various hues meet the veins in the wood, the awakening figure emerges on the surface to vanish slowly again.
Impregnation and sanding are applied both to background and figure. The drawn lines prolong or contradict the natural lines. Meaning penetrates the support and the support injects itself into the meaning, creating vibrations at the very surface.