In this project, it is a question of establishing a link between the skin, carnal envelope which covers our body,... Read More
In this project, it is a question of establishing a link between the skin, carnal envelope which covers our body, and the walls, protective envelopes which surround our dwellings.
Indeed, both are similar to surfaces of contact and separation with the outside world which sometimes, when they are put in relation to it, can similarly be exposed to certain nuisances or unusual degradations.
These can act physically on these envelopes, then causing a perceptible impact, remediable or not.
The skin can be burned, dry out, crack - physiological phenomena causing concrete and unpredictable changes - just like the walls which degrade and deteriorate in the face of wear, the marks of time, etc.
In BROKEN SKINS, I chose to work on the creation protocol of each piece in a desire to transcribe plastically an alteration of the human epidermis. From this perspective, burnt skin is likened to a rusty facade, dried skin is represented by a sanded wall, cracked skin by a crumbling wall.
Through the construction of a fault as there could be on the walls of an abandoned or dilapidated house, several surfaces of materials appear, suggesting a possible rapprochement between the layers of the skin (dermis, epidermis, etc.) and the architectural strata that make up the building.
The deeper one delves into the reading of the work, the more the interplay of materials suggests an organic dimension highlighting a human presence. The installation shows the different pieces in levitation, detached from the wall and floating thanks to their hanging system. The chains and metal rods that link them create an unfixed assembly with which I can play by modifying the composition and arrangement of the different elements.
The main pieces of the installation are like paintings in which I have dug a crack, symbolic stigmata evoking natural wear. The secondary parts are made from offcuts that reveal, in hollow, the different components of the master parts.
The transparency of certain elements as well as the play of shadows that are reflected on the wall
is linked to my desire to question the relationship between perceptible and invisible, container and content, obvious wounds and latent flaws.
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