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To avoid all these knots



The concept of passage is associated with the experience of “crossing”. It is on this aspect and, in particular, on the aesthetic experience (of the senses) that my work in sculpture focuses. Through an immersion device, I want to confront our body with objects, shapes and dimensions.

At OBORO, I would like to offer a work that the viewer can browse: 50 boards placed like so many rows of crops on which are “sown” 2000 metal rods crowned with recovered plastic bags. At the heart of a field evocative of contemporary issues, semantic reading is contaminated by sensual experience.

The experience consists of walking on flexible planks - hyperbole of the exhibition room floor - and simultaneously feeling outside the place - the impression of being in a field, outside the room. This idea of being “in” and “outside” of the place particularly interests me, as do the possible points of view inherent in the proposal.

The work is of experiential interest (during passage), but also as a sculptural installation to be observed from outside the field. The choreographic movement of the stems, the body of the spectator appearing filigree in the middle of the stems and whose head is hidden by the plastic ears offer a disturbing landscape.

The passage is also marked by an amplification of the creaking of the boards mixed with the sound of the plastic: sound ambiance which contributes to the immersive potential of the installation

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