SCULPTURE INSTALLED

FLOOD ABACUS, 2021

The sculpture, installed in a flood zone in Courcelles sur Seine in late August 2021, was designed to measure the rising waters and playfully inform the general public of their dangers.

 

Commissioned by AREAS, financed by The Seine Eure Agglo, the Ministry of Culture and private sponsors.

ACQUISITION

FRAC PAYS DE LA LOIRE, 2021

The FRAC Pays de la Loire has acquired the 12 Journals created in 2020. Ceded on a non-exclusive basis, in the form of pdf files and color photocopy fanzines, the FRAC will be able to recompose the material to make new stories.

GROUP EXHIBITION “X”

FRAC PAYS DE LA LOIRE, 2021 - 22

This exhibition, curated by Claude Closky, was to celebrate the reopening of the FRAC after a year of renovations. The works, contained in the collection or borrowed, "all have in common that they look at the unfolding of daily life, at the impact of time on work, or that they adopt a specific temporality in the way they are exhibited" (CC).

 

Exhibition runs until January 2 2022.

OF INEXACT SCIENCE

PUBLIC ART PROPOSAL, 2021

Student Union building, La Doua campus, Lyon University

The proposal for the this science and technology campus is a six-part comic strip. Born of consultations with experts in several fields (engineering, sociology, comparative literature, graphic design), it adopts what appears to be the language of science but is in fact transdisciplinary. From a distance, with its figures and pseudo-formula, it seems to embody the scientific spirit. If we look at its narrative content, the scenario is absurd.

(Proposal not accepted).

KONTAKT #46

09/2020

Proposal for the monthly drawing magazine Kontakt, published by Alex Chevalier.

Electronic mail-out September 30 2020.

ORACLE

07/2020, On-line card game

This interactive, electronic card game, created during the first Covid-19 lock-down, assumed that the crisis would spark a return to superstition. It works with a set of 400 cards, mostly using imagery pulled off the Internet, and as many fortune cookie-type prophecies. Viral animations spring out of nowhere. The pandemic-themed texts, images and animations are at the service of old divination techniques. The cards are drawn automatically but you can also intervene, following obscure and changing rules, to try and influence what the Oracle says.

ALLONS VOIR

PAYS FORT

August 2 - September 27 2020

 

My contribution to this group exhibition in the pyramid-shaped barns of the Pays Fort region was inspired by the local tradition of witchcraft. I adopted its assumption that answers to problems can be found in a parallel realm and certain rituals give access to it. Groups of construction signage inscribed with pictographic representations of rural life and QR codes were spread among the three sites. They marked the entry points to underground content: the card game Oracle and four electronic flip books (Rural Flip 1 – 4).

 

Curator: Lucile Encrevé

Organizers: Singularités.

NEW PUBLIC ART PROJECT

Collège Aretha Franklin, Drancy

Competition won in November 2019.

Project delivered July 2020.

 

53 enamel panels grouped into 12 polyptychs decorate the school's corridors. 8 works designed by the students using the coats of arms they created during workshops earlier in the year are hung in the staircase.

OÙ EST LA DIFFÉRENCE ?

CAC MEYMAC

July 4 to October 11 2020

 

This group exhibition takes gender as its theme, pairing male and female artists with thematic or formal similarities. My ORACLE electronic card game and wall paintings depicting the mutation of the Covid-19 virus dialogue with Olivier Garraud's disident pseudo press cartoons. Our shared interest in mapping current affairs, the ironic use of text and a taste for high impact graphics motivated this "arranged mariage."

 

Curators: Caroline Bissière & Jean-Paul Blanchet

NEW ARTIST BOOKS

Downloadable pdf files

Two new artist books present drawings of essentially African sculptures exhibited at the Pavillon des Sessions at the Louvre. The “imperial drawings” done with the right hand embody the certainty that science once enjoyed. The “postcolonial” drawings, done with the left hand, are less sure of themselves. They represent a renewed approach to these problematic museum pieces.