On the drifts of a journey around the unfeasible, useless gestures and failures to come, the work of Lorie Ballage is a dedication to tragedy as a grand ideological narrative.
Her works can be perceived as utopian errors aiming to represent the potentialities of failure - thrills which results from unfortunate events, loss of control and uncertainty. The error has an inherent aura of resistance in which resides the nuances, the mistakes, the flaws, all the things that define us as individuals.
Lorie Ballage (b.1994, France) holds a BFA from the Art Academy of Dundee, Scotland and a Master of Fine Art from the Art Academy of Bergen, Norway, where she currently resides.
Bath Time explores the potential of the aqueous body by developing impractical systems such as flowing, unflowing and overflowing devices. As the intention is to represent fictitious, real and seductive anomalies, candor and playfulness are the primary languages inhabiting the project´sfantasies. While being inspired by thespatial functionality of a bathroom, Bath Time aims to grow towards a grandly dysfunctional variation ona whollyfunctional theme,questionning thestructures thatshapes oureveryday life.
The Series of functional disorders started during the residency Project Network I at Guldagergaard in Skælskør, Danmark, back in January 2018. Still today, this project takes an omnipresent part in my current researches. It aims to represent the potentialities of failure - thrills that arise from unfortunate events, loss of control and uncertainties. The error has an inherent aura of resistance in which resides the nuances, the mistakes, the flaws, all the things that define us as individuals. If we look at an object properly it is like the surface of a mirror: a reflection of ourselves as creators. Its imperfection is an analogy of our humanness.
Used primarily for our everyday functional objects, ceramic - which has always surrounded us - offers us infinite possibilities of creations. Nevertheless, these materials remain still very connoted to the functional. Paradoxically, it is the failures of handmade to match mass production technical brilliance that makes it attractive. In this glorious failure resides the nuance, the mistakes, the flaws, all the things that make for humanness in objects. The functionlessness creates an uncanny situation where the identity of the object disappear to reveal its real own image. In the end, it is always about embracing the useless beauty of creation.
The installation depicts a cartoonesque attempt to intervene on a mysterious emerging shape facing a concrete jetty. Below the barely perceptible tip, lies a large industrial engine abandoned for decades. The crane-like trebuchet sculpture depicts an uncertain gesture towards the sunken object. It is unclear whether the lines are made to extract it or to burry it further down its resting place. The location of the piece is at the intersection of a constellation of industrial, traditional and leisurely marine activities in Elefsina. The colorful visual language of the installation considers the possibilities of a cohabitation between the remains of industries and a decolonized coastline. The piece extends above and under the seascape to address the idea of the sea as a space for disposal and disappearance. Burial is lighter than retrieval, the sea carrying the weight itself. However, the vastness of the sea has vanished. One is left to contemplate the potential of scaling down and investing time into liberating spaces from objects with insignificant means perhaps, but joyfull at least.
The piece was created in collaboration with Forlane 6 Studio during the Initiator residency in the context of Eleusis 2021 European Capital of Culture.