Drawing. Drift | 2021
kaolin, neige, projection vidéo, polyestère recyclé, et tissu en soie naturelle | 96 pouces x 120 pouces
Il fait un froid glacial malgré le soleil qui brille. Les vents sont intenses et constants. J’observe le dynamisme des bancs de neiges formés par la force des vents. Les courbes s’entrecroisent et s’unissent produisant des zones contrastantes d’ombre et de lumière vive. Je ne tiendrai pas longtemps sous ce froid.
Close to the ground, at an angle that allows the snowdrift to feel infinite, I am slowly letting clay enter the intense wind. The immediate contact with the material and the natural element of gusty air produces grainy subtle lines which swiftly blend with the snow. The draft of the wind creates rhythms. The clay introduces a gritty texture in the image and creates a subtle change in color palette from cold to warm. The movement of the wind and the clay is emphasized by the sound framing the experience. The composition allows no space for a horizon line of trees or rocks thus displacing the audience and tuning to deepen their relationship with the simple element of air. There must be a balance of how much foreign clay can be introduced without wrecking the natural environment. Through sound, the agency of the clay and wind is emphasized. The video captures the relationship of the performative matters which invoke disappearance, movement, and indeterminacy.
Drawing. Flow | 2020
kaolin, eau. vidéo et installation sonore en galerie. 144 x 96 pouces.
Le son de l’eau en rafales s’accentue au fur et à mesure que je m’approche du cours d’eau. Ce n’est pas vraiment une rivière mais un ruisseau qui après une journée de pluie se prend pour une rivière. Le son est constant, méditatif. Je m’assoie sur les rochers au bord du courant, aussitôt posé mon corps s’accorde avec les vibrations sonores. Je regarde les lignes de l’ eau qui fuit les amas rocheux. Ma vue s’harmonise avec mon ouïe et je perds la notion de l’ espace.
Close to the ground, at an angle that allows the flow of water to feel infinite, I am slowly letting clay enter the body of water. The immediate contact with the material and the natural element of flowing water produces vaporous lines which swiftly disappear. The flow of the water creates geometric and organic lines moving within each other. The meditative sound of water movement frames the experience. The composition allows no space for a horizon line of trees or rocks thus displacing the audience inviting them to deepen their relationship with the simple element of water.
Aube Collaboration avec Isabella Uliazs | 2021
kaolin, gomme arabique, potassium ferricyanide, ferric ammonium citrate, verre | 48 x 48 pouces
The alchemists departed from the fundamental principle that minerals and most inorganic matter were gifted with a type of “life”. Like animated creatures, these substances had the possibilities to evolve within the earth, to pass through a series of transformations that allow them to elevate from an imperfect stage to a perfect one.
Translated from the ancient alchemist text L’alchimie et les alchimistes, Louis Figuier, 1854.
Parallel to the early chemist’s ways of thinking, I am interested in the transformative facets of working with the material, its philosophical and relational components, and its life qualities, but I dismiss the obsession to control every step of its transmuting phases. Through this collaboration piece, the clay, the chemicals, the substrate, the light, the video, the space, the idea, the friendship, the audience are all encircled within an entire set of connections.
Hommage à Ana Mendieta | 8 septembre 2020
porcelaine crue, sang, poudre à canon.
Water flow | 2020
kaolin, eau. verre, graisse, papier.
Clay Gesture | 2020
kaolin, eau.
Shelter | 2019
kaolin, glace.
