This painting is the tenth in a series which began in 2018. This series is produced around the problem of welcoming migrants in France, was born from a political revolt linked to precarious housing, visible at the gates of Paris or the Bois de Vincennes, as well as in the camps of Calais or Grande-Synthe.
Emilie quotes the words of Joy Sorman describing these cabins, their darkness, their misery, and where one winter evening the author discovers these camps in another light, that of the wood fires which light them and which gives off a humanity, " illuminated by the flames, the eye sees something of human ingenuity which encroaches on the distress.
It is a bit of this feeling that prevails in the works of Emilie Bazus, during the vision of these makeshift shelters which never cease to prolong the ordeal of those who have in fact refused the respect due to humans. Through fluorescent pigments that the artist uses to prepare her backgrounds, these colors were imposed to guide her in representing these lights emerging from the cabins but also the lights of a sky at setting sun, or reflected in puddles of water .
“Through the light coming from my cabins, it is humanity that I seek to translate,” she adds.
In this jungle, Emilie notes that the only visible constellation is that of the myriad of braziers maintained by the candidates for this impossible Eldorado in this survival of creating living spaces, with three pieces of string, blankets and tarpaulins, to create a place habitable despite very rudimentary means.
We see there a precariousness of a construction certainly, but also an ingenuity and creativity of humanity.
