Her work consists of a multitude of experiences that involve a personal physical or symbolic investment. Photographs, videos, but also and perhaps especially written or oral stories come to document these “moments”. The narrative form best describes the feelings of adventure that inhabit her actions. If her work is a priori heterogeneous, one form dominates, that of the unfinished, the ellipsis. She would like people to take her work as it is presented, in fragments, little by little. She puts methods in place for results that she really has no idea of.
She disrupts visitors’ journeys by working with the explanatory labels that describe the works to be discovered while walking through the sites allocated to the festival. On paper, evocative titles announce works that you are expected to find on your path. She gives the titles, specifies the alleged size of the works, the technique used…
But no matter how or where you seek, none of these works mentioned on the labels will be found along your route. Her approach works with what is true, what is written and promised in some way, and the absence of objects. She is not playing games with the spectators. Rather, she is offering them a different way to discover a work. Reading the title becomes an opportunity to imagine how the work would be if it had a plastic form. Each work thus takes a different form in the eye of each visitor. The artist would like visitors to begin by looking for the works before seeking the mediators. In this way, the titles will have existed for a time in their minds. The disappointment of not seeing any work will be offset by the genuine effort of imagination that her approach creates.
Curator: Art Souterrain