REMNANT

    “Les objets sont des enregistreurs” (“Objects are recorders”)¹, this title of Tatiana Trouvé’s interview on France Culture could illustrate the intentions of my sculptures and castings. Indeed, like Tatiana Trouvé, I think that objects are things we need to identify ourselves, to anchor our lives in reality. 

    The idea of a “quiet life” (the title of the artist’s exhibition at the Kamel Mennour gallery in Paris in autumn 2018) is a poetic image at the heart of my concerns with objects. 

    Exhibited as such, this hollow form, moulded from the inside, refers to its function : to contain a liquid that spills out. The porosity of the used material makes it unusable, but its function and the narrative it contains remain readable data. 

    As in each of my volumes, the potentiality of a narrative about everyday life and its fragmentary memories is important. I always tend to think about the form of intimate objects that wear out in silence. 

    Connected to the ceiling by a latex pipe that rises like an outgrowth, the form on the floor comes to life. Mute, it traces a soft line in the space that structures the gaze. 

^1.France Culture. Tatiana Trouvé : “Les objets sont des enregistreurs”. Richeux, Marie. Par les temps qui courent. Paris, November 13, 2018