Pulling up the thread...

12.04 - 17.06

As the bearer of a story, or even a message, every work of art transmits to its viewer a sum of visual, thematic and, for the most perceptive, technical information. To understand a creation, you must go back its making. From its appearance, form, iconography and style to its method of conception, the choice of material, the references used, and the technique selected. Every object is the repository of the context in which it was made and of the choices made by its author, who consciously or unconsciously inscribes his own knowledge and concerns into it. This imprint left on the work is the common denominator of the artists.

The imprint of the mould appears in the pieces of Zohar Sally and the duo Noam Dover & Michal Cederbaum working with ceramics and glass respectively, despite their deceptive appearances. The mold is made from textile which seems to reveal itself at first glance in the folds and nooks of the sculptures.

The imprint of the street is part of Ann Rikkers’ works, whose mold are made directly from urban metal objects. These pieces are worked like metal, bringing together several distinctly manufactured elements ‘welded’ together to form a watering can in a poetic sense of uselessness, as the work cannot receive water.

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of the show

Holding smoke #9_1

The imprint of mythology and tale marks the tapestries of the Krjst Studio at the crossroads of tradition and ritual, as well as the vases of Thibaut Renoulet with imagery inspired by the Persian poem The Conference of the Birds, an iconography at the origin of discovery and new vision of the world.

So many objects are receptacles, carriers and transmitters of a story, a tradition, a know-how, a place, alternately appropriated, reinterpreted and transmitted by their authors. To observe the work, to understand the artist’s approach, to identify his vision of the world, is pulling up the thread of the creative process and the history of the piece.

Photographer : Laurie Mélotte

Text : Thibaut Wauthion