Tomás Amorim / Alain Delorme / Anna Katharina Scheidegger /
Mozziconaci Robert-Teyssier / Laure Winants
Born in 1990 in Rio de Janeiro.
Lives and works in Paris.
Monticolæ is an ongoing research project, initiated in 2021 on the basis of various plastic/photographic experiments whose primary objective is to restore volume to the photographic image. Indeed the image captured by the photographic tool is frequently represented on a flat surface like the projection or the paper, but here it is precisely the existence of a relief which forms the image. With this research, I wish to deploy the image beyond its usual flatness, to work on it as a material in itself; sculpt it, fold it, incise it.
The work evokes natural landscapes, minerals, but also portions of the body, contracted muscles; forms frozen in a concrete slab that bear witness to both a manual gesture of making and the flashing passage of a light wave, this is the meeting point between the long shaping of the sculpture and the instantaneity of the photographic image. The photographs and the sculptures testify to my desire to create a photographic work which questions sensations and perspectives and which creates a visual disorder between the flat and the volume, between two disciplines of art which are opposed in principle.
By crumpling a sheet of paper, I therefore obtain these slightly uneven and wavy surfaces, molded in plaster or cement, with hollow areas which, in contact with a grazing light source, generate shadows cast on the surface itself. -even. Coated with a photosensitive emulsion, the plate becomes both a support and a photographic medium, capable of recording the shapes that catch the light. I draw inspiration for my foldings especially from the geographical forms of all kinds of natural landscapes – hilly, volcanic, island, plains and valleys. To these reliefs and to the mountains they inspire us, refer those who inhabit them and who were designated, in Latin, monticolæ.
Born in 1979 in Versailles.
Lives and works in Paris.
The Citadelles project is a reflection on the relationship of man to his environment. Sand is omnipresent in our modern societies. A non-renewable natural resource, it is the most exploited in the world after water.
Citadels refers to the stronghold, the last line of defense of the fortifications before the fall of the place. In this series, the threat is the rising waters, resulting from global warming, but also the problem of sand as a depletion of resources.
This project is being carried out on the French coast to the rhythm of the tides. I have two hours to create each sand sculpture before the waves wash it away.
It is an ephemeral co-creation with nature, a creation as a vain emergency in the face of changes in the world. The citadel seems massive as well as vulnerable, imposing and unstable in the face of the inexorable movement of the ocean, fragile like the planetary balance.
Anna Katharina Scheidegger
Born in 1976 in Sumiswald (CH).
Lives and works in Paris and Bern (CH).
This series looks at the disappearance of luminescent plankton. Marine plankton is one of the main supports for the existence of our own species. Not only does it form the base of the marine food chain, but it also captures a significant portion of atmospheric carbon dioxide and releases oxygen through photosynthesis. These microorganisms cover only 1% of the total plant mass of the planet, but produce more than half of all the oxygen we breathe. This lung of the planet is in danger. Since the 1950s, phytoplankton populations have declined by 40%.
The FRAGILE WARNING LIGHTS work is a photographic research on the specificities of phytoplankton endowed with bioluminescence (in particular Dinophytes (Dinophyta), also called Dinoflagellates). Bioluminescence is the emission of light by living organisms following a chemical reaction that converts chemical energy into visible light. The emission of these flashes of light is due to a sort of bout of stress, generally linked to the eddy of the waves.
The photogram technique consists of placing an object on a photosensitive surface. After exposure, the object remains visible as a light trace. By placing bioluminescent plankton on a film plane, it is exposed solely by the emission of light from the plankton. The fact that the light comes from the object and not from an external source shows us the most radical photogram possible.
The snapshot of the flashes of light and the agitation of the plankton, are thus fixed in an image and captures the gradients and visually creates a depth. The installation of these images in light boxes gives an additional dimension and power to these Dinophytes which are difficult to perceive with the naked eye. The formats thus arranged evoke the immensely large galaxies.
Born in 1991 and 1993 in Toulouse and Uzès.
Live and work in Paris.
Like an eye, the lake keeps in reserve what we no longer see: there is a gaze to deploy. This is what we try to do in State of the Art: History is Straight, the fragments of which pursue a queer reinterpretation of the Lac de Naussac.
The body of water and its dam were associated with the struggles of the 70s in the wake of the Larzac, in this momentum which sought to advance together ecology, resistance, desire in the face of the forces of destruction (capitalism, patriarchy). In addition to disrupting the landscape, this construction bears witness to the future of “less good land” in the 20th century: forced integration of small farmers into globalized agriculture and the end of utopias. Our series (re)opens this project and materializes the first stage of a long-term fieldwork: surveying, interweaving of times and juxtaposition of genres (documentary, archive, fiction).
This series seeks to multiply the proofs, arrange desiring bursts to draw up a radical cartography of the landscape of Naussac: like so many possible openings on past, present, future stories.
Born in 1991 in Spa.
Lives and works in Brussels.
Represented by Fisheye Gallery, Paris
In April and May 2023, the collective composed of Patrick Blenkarn (Canada) and I will leave for the Arctic. The first part of the trip will be a residency aboard an icebreaker with Arctic Circle, followed by a month-long residency at the Spitsbergen Artist Center. For Words From a Tongue We are Losing — I propose to develop an interactive digital experience that strives to give voice and grammar to a dying "language", the glacial tongue of the Arctic glacier. The scientific term “glacial tongue” transforms the glacier into an organ, anthropomorphizing our understanding and our relationship to ice. Just as a human's tongue is a receptor, the ice on the surface of a "glacier tongue" absorbs the chemical components: the powdery dust of a combination of small rock particles, soot and microbes settles on ice layers, darkens its color, reducing the reflectivity of the ice. This absorbs solar radiation and speeds up the process of melting snow and ice. It tastes like the transformation of the Earth. It contains stories that can only be translated from an ancient language. And as such, the glacial tongue also indicates a critical state. Glacier “tongues,” however, are losing their ability to communicate the stories they have witnessed even as we begin to read them. Soon none of us will be able to speak or read these native languages. For this series I want to give back their voice by creating works combining representation made by sensors and experimental photography from materials collected on site.