My current research leads me to the making of active objects undergoing an evolution conducting to self destruction. With accumulation of rough geometric forms, the ecological interactive and still installations reflect on the figure of human activities as the dominant influence on nowadays ecosystems. I develop works which tend to mix ceramics and electronics. Through projects which attempt to narrate the catastrophe I am using the visitor’s presence as a trigger. It refers to a post-humanism era that shows that our way of apprehending our body is changing with new technologies and is linked within the problematics related to collapsology and solastalgia.
Bevañ er bourzh (vivre à bord)
(Bevañ er bourzh, translated from the Breton dialect means: Live on board) Inspired by the norwegian and breton landscape, one of the installation is evolving around a place dear to my family that I know since my childhood in Brittany. This place is located in the Mont Saint-Michel’s bay, certainly far from Norway and yet linked in many ways. In this bay, far from the tourist bustle, from all light and electricity my great-grandfather built a «gabion». A block laid out under earth level only exceeding a few tens of centimeters. Enough to let emerge from the ground, rectangular windows embrasure, from where you can see the migration of certain species in this biotope. This block is designed to accommodate hunters from dusk until dawn. This traditional construction differs from those found in other regions, as it is submersible during high tides with water from the bay. Besides, the family attachment that I feel for this place, and the surrounding nature, I have recently discovered that in the big pond which adjoins this “gabion”, when the tide goes out and the sun dries up the bottom of the pond, we discover clay. I have collected and prepared this clay which after a few tests in my studio in Bergen can be fired at high temperature. Among the clay, the architecture of the place as well as the fishing wastes brought in by the tides on site, I began to constitute a sampling of forms that will be articulated in an installation. This is complementary to my knowledge as well as a huge resource of inspiration and thus, driven me to collect my own clay. With our new way of traveling, I am focussing on Norway territory. Harvesting local clay is a part I reintroduce into my process. In working with aspect, I particularly appreciate the mineralization of the mass, we can observe the remains of the natural stratification of the earth, which reconnects the sculpture to its original material. The corpus consists of ceramics sculptures, watercolor on ceramics and mechanic nets. Those hanging from pulley and ceramic bits foster layers of paperclay porcelain plates which are altered through the delicate impact.
Bevañ er bourzh (vivre à bord), glazed stoneware, rope, net, paper clay porcelain, 2020