Why does the West, because of its culture, consider Man as detached from nature? Why does this strong nature/culture duality permeate our society and why is capitalism incapable of considering “nature” as part of our way of life and thought?
Following my end-of-studies dissertation and several residences in China and South Korea, I began to question extra-Western ways of thinking as well as the relationship of modern man to his surroundings.
These questions have nourished my research to lead to transfigured landscapes, where empty and full mingle with the exhibition space, like a mesh. This creation is imbued with reality while not representing it.
My practice aims to operate a back and forth between culture of proximity (say endogenous) and culture that could be described as exogenous. What interests me is to propose a disturbance of the gaze of the spectator trained in an aesthetic pre-determined by his locality to confront him with another mental construction. In short, to disorient him and lead him to build bridges between the self and otherness.
I imagine works that reflect this movement of exchange between different cultures and the representations of natural landscapes that they generate through the use of a form of stylisation.
For this exhibition, the artist and composer Lukas Jacob Hövelmann-Köper has composed a musical work based on the shapes of the cutouts. The cut-out patterns, projected on the floors, walls and ceilings, intertwine, between reality and abstraction, thus offering an experience where sound becomes one.
In places, electric cables mix with this nature, associating with it. Man cannot exist alone and emptiness cannot exist without matter. The forest is an industrial city, the tree branches are electric wires and our perception is constantly deceived.
This installation propels us into an interior greenery, made of whites and shadows, cables and lights, a standardized space: a White Garden.
