FH_1_22, FH_2_22, FR_1_22, FR_2_22, 2022
acrylic and watercolour on Arches Paper, 90x63 cm
Koller, Group Show at R52L
Berlin, May 2022
Scales, 2022
Koller, Group Show at R52L
Berlin, May 2022
FH_22 series, FR_22 series, 2022
acrylic and watercolour on Arches Paper
90x63 cm
SHW_1_22, 2022
acrylic and watercolour on Arches Paper
120x80 cm
SW_22 series, 2022
acrylic and watercolour on paper, 65x50 cm
FP_3_22, 2022
acrylic and ink on Arches paper
90x63 cm
FP_8, 2022
acrylic and ink on paper
90x63 cm
AF_1_22, 2022
digital print on cotton canvas, 145x100 cm
Text written for Off Water I at Gr_Und, November 2021, Berlin & Off Water II at Sainte Anne Gallery, April 2022, Paris
The immeasurable scale of the space-time in which we evolve requires us to permanently adjust the distance to that which surrounds us – in order to measure the scope of our impacts, the potential for actions, their possible failure and the extent of the dynamics that shape the "habitable".
Water as a major component of our terrestrial system, from its oceanic surfaces to the fauna and flora, structures our relations.
Off Water implies changes of state according to metabolic processes. These metamorphoses allow for hybridization and initiate upheaval. The artists of the exhibition deploy spaces that host the meeting of forms and affects. To leave the water implies a movement. Metaphorically, "to be out of the water" invites us to take a time out. The exhibition is composed as a territory through which the works draw the cartography of another possible space-time – hinting at that which is bigger than us, while allowing proximities and a reversal of scale.
Helmet I (écailles), 2022
ed 5>1EA, steel, 21 cm Ø
MR_1_22, MR_2_22, MR_3_22, MR_4_22, 2022
digital prints on cotton canvas
130x100 cm
scales, leather pieces of horse saddles
HARMONY, text written for Publication for a non linear art, February 2022
The surface on which the meeting of two worlds is projected is a contact area. On either side of this surface, autonomous universes evolve. The expanse of water separates the aquatic from the terrestrial. In the ocean, sound propagates more rapidly than in the air. We are faced with two spaces separated by two different temporalities. Artistic work spreads like a wave, creating variations adapted to its environment according to a clear and defined, intuitive rhythm. It allows the dialogue between sovereign entities, putting in motion the worlds below with those above the surface. Artworks form new spatio-temporal ensembles united by contact and create suites of horizon lines. They disperse and diffuse in archipelagos.
The encounter is situated in this space-time of the fluctuating infrathin 1. It is an analogy between the plane of the work and that of the flow. We collect fragments which then make up hybrid ensembles. It is a question of finding a balance in the chimera 2. These ensembles are composed with simple and protean tools that can have almost infinite repercussions 3. The meshes of a net, the movement of a seaweed - Laminaria Digitata -, a photographic negative, gills, marble, a horse's saddle, any object of observation and fundamental contact allows for an encounter, an intertwining. The ocean is caressed by swarms of fish, diaphanous plastic continents and crossed by nets that plunge into the temporal mass of its depths. The artistic work allows us to inflect this fleeting expanse in order to reveal its surface waves.
In our respective distinctions, by connecting to these modelling screens of relationships, we compose ensembles. From these initial dichotomies we want to weave interlacing encounters. This is done by tuning to other frequencies through tools that allow us to achieve harmony. When the net brushes against the paper, its imprint reproduces oscillations, evoking the shimmering undulations of silver scales. These scales are part of a system, they are interwoven with each other. Similarly, each mesh is a network through which matter passes, emptiness persists, relationships are formed.
Something very elementary happens: several entities mix, invite each other and dialogue to form a unity that is both harmonious and plural.
1.Marcel Duchamp, “Infrathin”
2.Donna Haraway, A Cyborg Manifesto
3.Jun'ichirō Tanizaki, 陰翳礼讃
FP_5_22, FP_4_22, 2022
acrylic and ink on Arches paper
90x63 cm
FM_1, FM_2, 2021
acrylic and watercolour on Arches paper
90x63 cm
Text written for "Interfaces, or those who caress the surface", Interface, June 2021, Berlin
Where abscissa and ordinate axes meet, there are points of contact. From these landmarks, territories are created that continually communicate, interpenetrate and move away from each other. We approach these spaces, by creating zones punctuated by our meetings and exchanges. These places where worlds brush against each other are infrathin 1 interfaces, membranes which embrace our interconnections.
First, there is the world’s vast space. From its maritime vibrations to the rhythm of the swell on its surface. There are telluric expanses pierced by roots and architectural perspectives. Within them, human and non-human skins deploy bodily and sensual conversations. The beauty of the notion of interface is that it proposes to reconsider the artwork as a surface accessible from its positive and negative sides. It opens up a space which escapes planarity, which draws its potentialities from a depth of field. As interfaces, artworks open worlds. Acting both as a screen and as a meeting place, they offer spaces of creation, invite us to penetrate and animate them with our interactions.
The idea of a permeability of interfaces is the key to this exhibition. The artists presented create spaces allowing for passages, for encounters. Their works call for a haptic experience.
Which is the surface, then, that caresses that of the other?
Within the exhibition space, itself an interface, the artists offer multiple approaches to this notion of permeability. When two hands move towards the surface of a plane, the skin itself becomes the surface through which the conversation with the world can take place. A dialectic thus opens, from the inner space towards an evoked place. The works build structures and create spaces of circulation and intimacy that resist us as much as they invite us in. In some, surfaces can be passed through in a vibratory and organic initiation. The artists stretch the plane of the exhibition towards an else-where that envelops us from the distant elsewhere in which it resides. The permeability of the presented surfaces allows us to envision that which, however infinitely distant, makes a step towards us. The interface can thus be seen as a potential for territorialization. The artists create immanent planes acting both as relics and potential futures, and these fragments scattered throughout the exhibition promise metamorphoses. The works gathered in this interior/exterior space formulate and offer access to intuitions which emerged from an embrace with the « surface’s deep essence »2.
The exhibition proposes to envisage the depth of surfaces which we thought were impermeable. The artists reveal what lies beyond the surface of the works. Yet to caress the surface, one must be there, and stand prepared for an encounter. In order to open fundamental conversations and invite empathy towards species and worlds.
1 Marcel Duchamp
2 三島 由紀夫, Mishima Yukio
Phaéthon, 2021
old horse saddle, cotton muslin
variable dimensions
FM_3, 2021
acrylic and watercolour on Arches paper
90x63 cm
Constellation, 2020, pieces of an old boat cover
FH_1_22, FH_2_22, FR_1_22, FR_2_22, 2022
acrylic and watercolour on Arches Paper, 90x63 cm
Koller, Group Show at R52L
Berlin, May 2022
Scales, 2022
Koller, Group Show at R52L
Berlin, May 2022
FH_22 series, FR_22 series, 2022
acrylic and watercolour on Arches Paper
90x63 cm
SHW_1_22, 2022
acrylic and watercolour on Arches Paper
120x80 cm
SW_22 series, 2022
acrylic and watercolour on paper, 65x50 cm
FP_3_22, 2022
acrylic and ink on Arches paper
90x63 cm
FP_8, 2022
acrylic and ink on paper
90x63 cm
AF_1_22, 2022
digital print on cotton canvas, 145x100 cm
Text written for Off Water I at Gr_Und, November 2021, Berlin & Off Water II at Sainte Anne Gallery, April 2022, Paris
The immeasurable scale of the space-time in which we evolve requires us to permanently adjust the distance to that which surrounds us – in order to measure the scope of our impacts, the potential for actions, their possible failure and the extent of the dynamics that shape the "habitable".
Water as a major component of our terrestrial system, from its oceanic surfaces to the fauna and flora, structures our relations.
Off Water implies changes of state according to metabolic processes. These metamorphoses allow for hybridization and initiate upheaval. The artists of the exhibition deploy spaces that host the meeting of forms and affects. To leave the water implies a movement. Metaphorically, "to be out of the water" invites us to take a time out. The exhibition is composed as a territory through which the works draw the cartography of another possible space-time – hinting at that which is bigger than us, while allowing proximities and a reversal of scale.
Helmet I (écailles), 2022
ed 5>1EA, steel, 21 cm Ø
MR_1_22, MR_2_22, MR_3_22, MR_4_22, 2022
digital prints on cotton canvas
130x100 cm
scales, leather pieces of horse saddles
HARMONY, text written for Publication for a non linear art, February 2022
The surface on which the meeting of two worlds is projected is a contact area. On either side of this surface, autonomous universes evolve. The expanse of water separates the aquatic from the terrestrial. In the ocean, sound propagates more rapidly than in the air. We are faced with two spaces separated by two different temporalities. Artistic work spreads like a wave, creating variations adapted to its environment according to a clear and defined, intuitive rhythm. It allows the dialogue between sovereign entities, putting in motion the worlds below with those above the surface. Artworks form new spatio-temporal ensembles united by contact and create suites of horizon lines. They disperse and diffuse in archipelagos.
The encounter is situated in this space-time of the fluctuating infrathin 1. It is an analogy between the plane of the work and that of the flow. We collect fragments which then make up hybrid ensembles. It is a question of finding a balance in the chimera 2. These ensembles are composed with simple and protean tools that can have almost infinite repercussions 3. The meshes of a net, the movement of a seaweed - Laminaria Digitata -, a photographic negative, gills, marble, a horse's saddle, any object of observation and fundamental contact allows for an encounter, an intertwining. The ocean is caressed by swarms of fish, diaphanous plastic continents and crossed by nets that plunge into the temporal mass of its depths. The artistic work allows us to inflect this fleeting expanse in order to reveal its surface waves.
In our respective distinctions, by connecting to these modelling screens of relationships, we compose ensembles. From these initial dichotomies we want to weave interlacing encounters. This is done by tuning to other frequencies through tools that allow us to achieve harmony. When the net brushes against the paper, its imprint reproduces oscillations, evoking the shimmering undulations of silver scales. These scales are part of a system, they are interwoven with each other. Similarly, each mesh is a network through which matter passes, emptiness persists, relationships are formed.
Something very elementary happens: several entities mix, invite each other and dialogue to form a unity that is both harmonious and plural.
1.Marcel Duchamp, “Infrathin”
2.Donna Haraway, A Cyborg Manifesto
3.Jun'ichirō Tanizaki, 陰翳礼讃
FP_5_22, FP_4_22, 2022
acrylic and ink on Arches paper
90x63 cm
FM_1, FM_2, 2021
acrylic and watercolour on Arches paper
90x63 cm
Text written for "Interfaces, or those who caress the surface", Interface, June 2021, Berlin
Where abscissa and ordinate axes meet, there are points of contact. From these landmarks, territories are created that continually communicate, interpenetrate and move away from each other. We approach these spaces, by creating zones punctuated by our meetings and exchanges. These places where worlds brush against each other are infrathin 1 interfaces, membranes which embrace our interconnections.
First, there is the world’s vast space. From its maritime vibrations to the rhythm of the swell on its surface. There are telluric expanses pierced by roots and architectural perspectives. Within them, human and non-human skins deploy bodily and sensual conversations. The beauty of the notion of interface is that it proposes to reconsider the artwork as a surface accessible from its positive and negative sides. It opens up a space which escapes planarity, which draws its potentialities from a depth of field. As interfaces, artworks open worlds. Acting both as a screen and as a meeting place, they offer spaces of creation, invite us to penetrate and animate them with our interactions.
The idea of a permeability of interfaces is the key to this exhibition. The artists presented create spaces allowing for passages, for encounters. Their works call for a haptic experience.
Which is the surface, then, that caresses that of the other?
Within the exhibition space, itself an interface, the artists offer multiple approaches to this notion of permeability. When two hands move towards the surface of a plane, the skin itself becomes the surface through which the conversation with the world can take place. A dialectic thus opens, from the inner space towards an evoked place. The works build structures and create spaces of circulation and intimacy that resist us as much as they invite us in. In some, surfaces can be passed through in a vibratory and organic initiation. The artists stretch the plane of the exhibition towards an else-where that envelops us from the distant elsewhere in which it resides. The permeability of the presented surfaces allows us to envision that which, however infinitely distant, makes a step towards us. The interface can thus be seen as a potential for territorialization. The artists create immanent planes acting both as relics and potential futures, and these fragments scattered throughout the exhibition promise metamorphoses. The works gathered in this interior/exterior space formulate and offer access to intuitions which emerged from an embrace with the « surface’s deep essence »2.
The exhibition proposes to envisage the depth of surfaces which we thought were impermeable. The artists reveal what lies beyond the surface of the works. Yet to caress the surface, one must be there, and stand prepared for an encounter. In order to open fundamental conversations and invite empathy towards species and worlds.
1 Marcel Duchamp
2 三島 由紀夫, Mishima Yukio
Phaéthon, 2021
old horse saddle, cotton muslin
variable dimensions
FM_3, 2021
acrylic and watercolour on Arches paper
90x63 cm
Constellation, 2020, pieces of an old boat cover