PANSIES
On the visuals provided, this installation art takes the form of a 200 cm diameter circle composition incorporating about 250 elements. In other cases, it may be increased (to enlarge the circle) as well as take another form (for example a band of 80 x 600 cm with 500 elements). The important thing is that the installation is contained in a geometric and well-defined ground surface. There is a total of 700 elements.
In standard housing found in a residential area, flower beds are often the mirror of social success; perfectly maintained, well defined, respecting regular spacing between each flower, observing calendar and seasonal traditions, and showing an idea of happiness.
Here, I use the pansy flower as a metaphorical symbol of these deleterious injunctions.
I question this external embellishment, what it refers to in others and its intrinsic sincerity.
In the work I show these flowers carefully cut, which now discreetly point to order, prohibition, violence, degradation, and alienation through daily life.
These flowers are imbued with sweetness and benevolence, qualities often attributed to the feminine. Also, I wanted an English title Pansies that implies twin meanings.
Pansies is used both to name the flower and to insult someone lacking courage and taking risks, which can be translated as poule-mouillée or tapette. The issues of binary and gender that it raises are fully involved in my approach.
Technically, the elements are hand-modeled porcelain. Each piece bears the trace of my fingers, the furrows of my hands. They are flowers, but they are also extensions of the body. Only the stems of the flowers are cut clean with a knife, expressing being wounded. I color each flower with refractory pigment juice like watercolor, giving an image of awkwardly leaving spots and drips, but maintaining the will to do well. The work has been fired three times: 980°C for form, 1280 °C for pigments and 980 °C for enamel.
All the images provided were taken at Keramis (Be), in a closed museum. It is therefore a new work that has not been widely seen.
In standard housing found in a residential area, flower beds are often the mirror of social success; perfectly maintained, well defined, respecting regular spacing between each flower, observing calendar and seasonal traditions, and showing an idea of happiness.
Here, I use the pansy flower as a metaphorical symbol of these deleterious injunctions.
I question this external embellishment, what it refers to in others and its intrinsic sincerity.
In the work I show these flowers carefully cut, which now discreetly point to order, prohibition, violence, degradation, and alienation through daily life.
These flowers are imbued with sweetness and benevolence, qualities often attributed to the feminine. Also, I wanted an English title Pansies that implies twin meanings.
Pansies is used both to name the flower and to insult someone lacking courage and taking risks, which can be translated as poule-mouillée or tapette. The issues of binary and gender that it raises are fully involved in my approach.
Technically, the elements are hand-modeled porcelain. Each piece bears the trace of my fingers, the furrows of my hands. They are flowers, but they are also extensions of the body. Only the stems of the flowers are cut clean with a knife, expressing being wounded. I color each flower with refractory pigment juice like watercolor, giving an image of awkwardly leaving spots and drips, but maintaining the will to do well. The work has been fired three times: 980°C for form, 1280 °C for pigments and 980 °C for enamel.
All the images provided were taken at Keramis (Be), in a closed museum. It is therefore a new work that has not been widely seen.
Year of Creation: 2021
Materials: Porcelain, pigments, and transparent cover
Dimensions: 10.00cm Diameter：200.00cm
