Gaëlle
Haubtmann has been a ceramist for many years and models and creates
sculptures that are fired in a wood kiln. Today, her artistic
practice extends to other mediums: video, performance, painting,
writing....
She walks, she collects, she listens,
she observes, she gathers...
Travelling
takes an important place in Gaelle Haubtmann's life. She
discovers (and works there) Australia, French Polynesia, India,
Scotland and since September 2019 Mexico. Mérida welcomes her in
September 2019 for an artistic residency at ESAY.
His work
is at the crossroads of ecology, spiritual awakening and the world of
colors. The wanderings
She is inspired by Barbara Formis who
speaks of the need to re-evaluate the everyday, source of
astonishment and aesthetic wonder.
Exhausting, "wearing
out" a place where she is brought to reside or any other space
of passage nourishes the base of her artistic approach. She adapts
and considers all the information at her reach, as much in the matter
as at the energetic level.
The descent into the cenotes of
the Yucatan becomes essential and contributes to the connection with
Mother Nature.
This deep journey nourishes her pictorial gesture.
Colored canvases emerge. The relationship with the painting operates
and creates a dialogue allowing to perceive new sensations.
On
the ground, the installations take place .They are with natural
colors, rich in various materials (scraps of plants, familiar
elements ... within reach of all) that are gleaned over the
territories surveyed. She revalorizes the status of abandoned
materials by reintegrating them into ephemeral sculptures.
Everything is nature ... it is a question of taking into
account and tending towards the impermanence of materials which
systematically brings us back to the forces of nature. Her work
resembles a territory where all her lines of experience
intersect.
She uses what is given to her to feel and to share with
her children. The installation of the sculptures becomes
collaborative with her family but also with others willing to
experiment.
Her gesture is simple and the time of the sculpture
ephemeral, she questions the status of the work of art: Does the work
consist of a result or a process?
Gaëlle
Haubtmann pays particular attention to the hanging. Her
process is fluid, devoid of frames and fixing devices. The
installation runs from the floor to the wall, and thus immerses each
individual in a sensitive world, as close as possible to the sensory
elements of the material.
