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Octobre 2013
ARTISTE EN RESIDENCE - SUSAN WALSH (USA) 'The change in shadows due to the earth's rotation is the single most important indicator that time is passing. Consequently, noting changes in color of daylight and in the cast of shadows is the most reassuring means we know to mark the movement of time'. Leonard Shlain, in Art and Physics One of the most persistent dialogues in my work as an artist, is between loss and the visual evidence of the passage of time. Each visual image becomes a Memento Mori of time and spaces in transition. In the altered dimension of grief, after one suffers the pain of the loss of a loved one, one's relationship to time is reassessed: time feels too long, or it feels too short, or it seems to stop moving. One waits for signs: the mysterious and ultimately reassuring alchemy of time, presence, and form. I would like to wait for signs during this residency and produce a physical manifestation (drawings), of that waiting. Susan Walsh
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Septembre/Octobre 2013
ARTISTE EN RESIDENCE - SANDE WATERS (CANADA) I have two bodies of current work which have a predominant theme referencing iconic female symbols. My large drawings are conceptual visual metaphors of female bodies. One of my drawings was five feet high by thirty feet long and required repetitive gestural mark making, taking several months to complete. To me, the physical and emotional environment one experiences results in choreography of unique gestures that may seem meaningless, and often we are not conscious of them, but they actually create form that defines who we are. My smaller more recent drawings are a study of rather engaging and playful ‘Goddess’ symbols. www.sandewaters.com
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Juillet/Août 2013
ARTISTE EN RESIDENCE - ALISON GRAHAM (UK) 'DRAWING and CLAY' In July/August 2013 ceramic artist Alison Graham (UK) will be exhibiting her PhD research work and more recent experiments at DRAW international’s gallery and studios. She said in a recent correspondence: I was searching through the artist residency sites and came across yours and it brought back the most wonderful memories of my time in Caylus in October 2005 with the MA Ceramics from CSAD. It was truly a life-changing experience for me, as it sparked off an overwhelming enthusiasm for drawing and mark-making that has developed in my ceramic work over the past 8 years, through the MA and PhD. I just wanted to say thank you for your enthusiasm, encouragement, support and understanding. Alison's studio will be open to the public to give insight into her ideas and working processes, which clearly integrates drawing as a vital component to her overall creative practice. DRAWinternational are happy to introduce this funded residency opportunity which is the first of an annual award to an artist whose work promotes drawing in a contemporary context. http://www.aligrahamceramics.moonfruit.com/
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Juillet 2013
ARTISTE EN RESIDENCE - NIAMH MERC (IRLANDE) I am so pleased to have artist and teacher Niamh Merc as a resident artist next year. She was one of my MA students at Cardiff during 1996/7. I have included an excerpt from her thesis The Importance of Drawing as a Mathematical Expression, 1997 which I still find pertinent and two images of her finely made drawing shoes which formed part of her MA exhibition. 'Niamh Cooney's Pencil Shoes were used to record an action of movement with the feet which were pushed and dragged along the ground in an intentional movement "to think of form in terms of definite measurements" and to reduce "all proportions . . . to forms such as triangle, square, circle" (Klee, 1956, p.22-23). This intent is "a thought in act: it is in this sense that I am certain of myself" (Merleau-Ponty, 1964, p.22). The thoughts within the pencil performances make use of a tactile motion rather than seeing themselves.' Klee, Paul (1956), Klee. Volume I. The Thinking Eye, edited by Spiller, Jurg, Lund Humphries, London and Bradford Merleau-Ponty, Maurice (1964), The Primacy of Perception, Northwestern University Press
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Juin 2013
ARTISTE EN RESIDENCE - DIANE RICHEY-WARD (USA) My recent drawings represent an ongoing series combining man-made and organic form. I have a continuing interest in line, and how it relates to motion and energy in a work of art. My previous series have included transparent and sculptural elements, in addition to video installations. I attempt to create an environment where the vigor, or force created by the form is retained in the piece. Cezanne one said, “There must not be a single link too loose, not a crevice through which may escape the emotion, the light, the truth.” I would develop new connections between form and content, using my exposure to the architecture of the beautiful environment of the Tarn and Garonne area as a stimulus. I especially am attracted to the medieval architecture of the region. Diane Richey-Ward
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Avril 2013
KATIE BELCHER -Atelier ouvert/présentation Mon travail à DRAWinternational est centrée sur l'expérience de la plumaison d'un oiseau pour la première fois, c'était un faisan. La maladresse avec laquelle j'ai réalisé cette tâche, autrefois une tâche habituelle, est devenue l'inspiration d'un nouveau projet de dessin. J'ai documenté le processus, et catégorisés et documenté sa trace - les plumes. Je cherche à décrire le faisan lui-même, ainsi que l'action de la plumaison.
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Avril /Mai 2013
ARTISTE EN RESIDENCE - OPPORTUNITE FILL THESE SHOES? Cette annonce est très tardive à cause d'une annulation au dernière minute pour le mois d'Avril/Mai 2013. Après avoir reorganisé notre planning, nous avons une disponibilité pour Mai/Juin 2013, si vous êtes intéressé contactez nous Info@drawinternational.com pour saisir cette opportunité.
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Mars 2013
HANNAH SARAH JAMES - Atelier ouvert Ma pratique embrasse l'action gestuelle d'une ligne tracée, typiquement à travers des dessins "in situ" utilisant des milliers de lignes droites.
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Mars 2013
HANNAH SARAH JAMES - (UK) Is your drawing practice primarily concerned with ideas of abstraction ? We are interested in an artist who has an experimental approach to drawing as abstraction, notation, repetition and/or geometry. We are pleased to announce that Hannah Sarah James has been selected to be our partially funded artist in residence for March 2013. ‘The mark-making potential of line has long been taken for granted and little consideration given to the mystery inherent in a simple line’ - Ziba Ardalan. ‘To the eye of the viewer the drawing objects, with their torn surfaces and empty spaces, crossed by lines and threads, are traces of a journey that point to the possibility of the existence of other planes. They suggest the existence of fullness in the empty.’ - Anna Maria Maiolino. My works explore the idea of obsession through mark making and the process of repetition through drawing. My research is predominantly process driven. I think through the making. A process of mark making that is made up of the repetitive building of lines and the continual reflection of this. This relates to the often site specific nature of my work. Space is essential within my practice; much of my work is developed through response to space, time and surface. Through drawing I have been able to develop a process that enables the viewer to feel emerged in the obsessive nature of the work and appreciate the time and the labour process. Exploring the physicality of the space the nuance and subtleties of that wall/ surface. Drawing attention to something that is largely overlooked and therefore the building itself becomes integral to the piece of work. The marks made are non-representational; they are an exploration of surface, a marking of time spent with a site and a demonstration of labour. This is also an attempt to slow the viewer down to appreciate the time spent to make this. This is my way of highlighting that this futile gesture does mean something, something slow and process based. The process of making acts, as a form of meditation, there is a sense of hypnosis involved in the repetition of the mark making and it is this meditative nature of the work that I want to translate to the viewer. Hannah Sarah James
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Février/Mars/Avril 2013
ARTISTE EN RESIDENCE - KATIE BELCHER (CANADA) Through my artistic practice I have been exploring the ways in which humans process experience and build memory. I find drawing to be an effective medium through which to make these explorations. It is intuitive and evokes experience without defining it. My drawings are centrally composed, densely modelled and make significant use of erasure. Animated by the tonal variations and marks beyond their outer contours, the previously static subjects appear to be emerging from or dissolving into the white ground. Using my own experience, found objects and museum archives as a starting point, I exploit the image’s function as a mnemonic resource for myself and other viewers. My drawings examine experiences, how we record and remember them, and what we lose with time and progress. katiebelcher.com
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Janvier/Février 2013
ARTISTE EN RESIDENCE - KELLIE O'DEMPSEY (AUSTRALIA) DRAWinternational is an innovative and supportive location for contemporary arts practice. It is in this experimental and critical thinking environment I want to incubate my current performance drawing investigations. Exploring expanded drawing as documentation I aim to investigate notions of inhabitation and inclusivity via a site-specific performance practice. Kellie O'Dempsey Recipient Australia Council Artstart Grant
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Octobre 2012
ARTISTE EN RESIDENCE - JULIE PAYNE (AUSTRALIA) My initial training in the field of sculpture and architecture pushes this desired three dimensional approach to drawing as an object. Apart from producing a body of work that I would use in upcoming exhibitions in Australia, I would greatly enjoy the liaison with other artists to share ideas and techniques. www.juliepayne.com.au
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Septembre/Octobre 2012
ARTISTE EN RESIDENCE - ANNA HAYES (UK) Highlighted in my oil paintings are the inaccuracies within Google Street View, exemplifying how our own perception of the world is so unlike that of a photographed image. What is at all is barely there, and in appearance what is; is beauty. My watercolour paintings in appearance have a documentary nature, but are conceived as a form of mapping a place or home, a combination of juxtaposed figurative element, which are then softened by imposing a careful simplification approach to the development of the work. Through this silencing process, disparate narrative images connect or stand alone, creating a subtle, calm, partially abstracted whole. Through the use of carefully selected figurative imagery I am exploring the function of the home, having a sense of place and belonging, together with ideas of remembering, perception and nostalgia .I have developed a calculated system of constructing an image that mirrors my thought process. The technique I employ allows me to reiterate the melding of identities into a unified whole. I build the paintings up using thin layers of dilute colour. By editing imagery I can draw attention to the peaceful moments that can perhaps go unnoticed. A duality exists both visually and conceptually within my work. Physically, it can be perceived as flat and decorative, yet a strong sense of serenity and composure also occurs created by the light tonal palette and the lack of detail. It is to allude to a sense of comfort, peace and sanctuary.
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Septembre/Octobre 2012
ARTISTE EN RESIDENCE - EVAN BROENS (CANADA) The theories presented by Goethe and his topic of intuitive consciousness as a way of understanding has become central to my working methodology. Drawing has operated as a grounding moment in my creative process and there are aspects of my practice and my work which includes drawing. Yet this way of working has not fully become a secure element in my portfolio. The DRAWinternational residency is an important opportunity to initiate drawing as its own entity in my practice, rather than being supplementary; bridging practice and theory and, as the website indicates, to locate a contextual framework. Evan Broens
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Septembre 2012
ARTIST EN RESIDENCE - NONI BOYLE (CANADA) Since drawing is central to my practice, I was very excited to find a residency opportunity that seems to celebrate the act of drawing to the extent that DRAWinternational does. One of the reasons that I wish to do a residency in France has to do with the exploration of place, identity and belonging. My maternal family history has its roots in France (many generations past). I have not spent more than a few weeks in France prior to this, and would welcome the opportunity to stay long enough to absorb a sense of place and develop some work in response. Noni Boyle
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Juin 2012
ARTISTE EN RESIDENCE - JULIA HITCHCOCK (USA) Objective Projects for me have always been the generative force that begs the next “what if?” “Next question, next inquiry, next body of work,” all manifest themselves in the active moments of working, coupled with the need to satisfy a visual conceptual puzzle. DRAWinternational has the structure and environment that will enable me to realize my next project: “the deconstruction and disintegration of the human form within its environment.” Visually describing the event of a human body actively chasing after its’ own basic cellular structures and acknowledging human existence as a non linear progression of events much like the firing of synaptic connections of nerve endings, the subtle act of a last breath or the jolting, violent surge of the last ounce of blood pressing against the interior lining of an exposed vein. These types of events ultimately lead to states of physical and spiritual transitions from one chemical or cellular state to another. It is this transition, interspace and state of being that I wish to elucidate in the large drawings. www.juliahitchcock.com
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Juin/ Juillet 2012
ARTISTE EN RESIDENCE - MIO HANAOKA (JAPON) One of the biggest subjects of my works is how to grip relationships in durational time. I want spectators to feel that everything changes all the time, even now. All objects, including myself, are transforming in order to adjust ourselves to every present moment. We tend to look for a place to stay to make us comfortable, but there is nowhere to stay same. So, I’d like to show the variable present which contains a trace of past and also a smell of future. Mio Hanaoka
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Mai/Juin 2012
ARTISTE EN RESIDENCE - ANDREA POR (CANADA) The underlying theme of my work is informed by the human condition, i.e., the will to power and its subsequent effects of fear, doubt, anxiety and isolation. I am interested in these emotions and how they contend and relate to the enormity of the world and the ephemerality of life itself. What happens to my achievements and will to power after I die? Who will remember me? To what purpose does my individual will to meaning serve on a grand scale? Andrea Por
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18 mars 2012
ARTISTE EN RESIDENCE- ANOOK CLEONNE (HOLLANDE) Atelier ouvert - exposition d'oeuvres réalisé pendant sa résidence.
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Avril/Mai 2012 (rescheduled)
ARTISTE EN RESIDENCE - DAVID NECHAK (USA) David Nechak has taught for many years and exhibited extensively in the United States of America. He has also exhibited his quirky and humerous ideas in Canada, Ireland and Scotland. He continues to explore these ideas through installation and sculpture with continuing wit and integrity.
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Septembre 2011-2012
Open Call - A Social Science and Art and Design Collaboration with Prof. Graham Button and Dr John McNorton Human beings think in the concepts of language, but how they express what they know transcends talking or writing. People perform actions and interact together in language but action and interaction is not confined to language. Therefore if we want to explore what and how people know things, the world we live in, and peoples' relationships to it and to each other we need to do this in modes of communication other than the conventional written form. Movement, colour, form are other ways to those of text and talk through which people can communicate with one another, or can be used in conjunction with one another to express what someone knows or wishes to convey. Consequently they can all be used to explore our world. This means that the traditional academic boundaries that separate art, human sciences and the natural sciences can hinder our understanding of our world and how we communicate that. We thus see that the meeting of minds from different disciplines is an open and dialectic opportunity for progress in the way we reflect upon and make reflective decisions about our world and how life actually might be at any particular time. Drawing for instance, is an activity which now is considered as an art form in its own right, yet can actually offer many variables in first order observation, which is, again traditionally thought of as the provenance of the human sciences, and in how one might convey these related reflective outcomes. Through breaking down the barriers between traditional disciplinary perspectives and through other creative opportunities, ideas can collide and may motivate fresh, energetic and rigorous exploration. John McNorton is an artist and educator who considers mind and body issues through the everyday and more conscious creative action. This world is not one encountered by the eye alone, but through the whole human interactive corporeal sensorium through which we are inexorably a part. This is a body for others, as it exists in its habitual state and focusses on how creative intervention can foster change in ones gesture to possibly result in new form. Graham Button is a sociologist whose interest in ordinary practical action and interaction is grounded in the relationship between mind and language. He has investigated how people reason about their world and display and use that reasoning in their interactional performances with one another in a diverse range of social settings. For the past few years he has focused upon how people reason about the work they do, and how that can be traded into the design of computer systems. These two seemingly disparate approaches have come together in reflections that have revealed mutual concerns and interests and provide opportunities to push the boundaries of traditional expression. Both John and Graham are committed in making some difference in how things are and towards how they might possibly be. It is the intention to research the content and methodology of a selected number of artists at DRAWinternational during their residency. Artist, therefore, who are willing to have their work and processes carefully scrutinised and discussed in preparation for publication can apply stating this in their application. A small selection of artists will be chosen during the 2012 according to the type of work produced and the availability of each person involved to mutually agreed dates.
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Septembre/Octobre 2011
ARTISTE EN RESIDENCE - KAZUKI NAKAHARA (JAPAN) I am interested in 'Line'. I learnt Japanese calligraphy from my father who works as a professional Calligrapher in Japan. I learnt the strict rule of handwriting and expression from the different forms of Japanese characters. Sometimes I practised the same line all day long. This experience has influenced my interest to draw on paper. The drawings are made by adding repetitive strokes with a coloured pencil on paper. I form one or many circles which mostly symbolises the Woman with Pigtails. It is not only the humorous form which interests me, but also the long meditative process of drawing. Stroke by stroke, I try to repeat the line with the same quality with a consciousness in the act of drawing itself. I am also interested in making rules with simple mathematics in drawing. Some round forms stand in a straight line, some make a group with others or make a triangle and some go around regularly. So I amuse myself with the arrangement of motifs and try to express rhythms on paper. www.kazukinakahara.com
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Juillet 2011
ARTISTE EN RESIDENCE - CHERIE BENNER DAVIS (USA) I propose to make works by chopping up and rearranging maps and world globes. These will be collected, some prior to arrival and others while in France (both in Paris and possibly also in the local villages near the residency site, if available). These works will reconsider relationships of the individual to place, space and current geopolitical events through a conflation of the physical and psychological systems used to map our world, lives and movement. The pieces will be reconfigured to become three-dimensional forms that mimic things like natural phenomena (ex. the shapes of hurricanes in motion), and the globes will be altered in various ways such as a rearrangement of the countries and continents and in ways that distort/destroy their usually round form. Source materials that are France-specific like Paris metro maps for instance, might be reconfigured to relate specifically to the approaches to map-making, and concepts of locus, space, and movement there. Cherie Benner Davis
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5 Juin 2011
Atelier ouvert / Bâtir des murs sur papier - SARA SCHNECKLOTH (USA) Partie à la découverte du paysage local Sara n'a pas pu manquer d'être attiré par le nombre de constructions en pierre qu'elle a rencontré sur les chemins ruraux. En particulier les murs en pierre sèche qui dessinent eux même les routes etles chemins. Inspirée par la similarité qu'elle a reconnu entre sa façon de créer un dessin et la composition d'un mur en pierre sèche elle s'est décidée de participer à un chantier de restauration. Cette expérience donne naissance à de nombreux dessins. "Les murs en pierre sèche comportent la notion de la structure, la superposition, la stabilité et de la grâce, toutes ces qualités qui je le crois peuvent se traduire entre trois et deux dimensions, et vice-versa. Dans l' effort de comprendre le travail et la tradition de la construction des murs en pierre sèche j'ai participé au chantier organisé par l'association APICQ. Nous avons passé deux jours à reconstruire une longueur du mur dans le hameau de Jonty. Qu'on travaille avec une grosse pierre pour trouver un ajustement le plus satisfaisant, ou qu'on collecte des cailloux pour remplir et fortifier, j'ai trouvé que les préoccupations de la paroi se traduisent directement par l'activité de dessin. Qu'on utilise la pierre, l'encre ou du charbon de bois, le caractère des matériaux suggère la technique. Le processus de trouver et placer intuitivement pierre après pierre reflête la façon dont un dessin se construit, marque par marque, la structure évolue par le temps et par un travail de patience. Travailler entre le site du chantier et mon atelier a également donné un aperçu sur des idées de la collaboration et de la propriété, le travail de chaque individu est devenu une partie de la grande structure, un accumulation d'efforts, d'intentions, et de techniques. Lorsque je me suis mis à construire des murs sur papier, en utilisant du matériel pour dessiner au lieu de la pierre, j'ai trouvé que les mêmes préoccupations sont essentielles à la construction. De quoi les murs ont ils besoin pour devenir stable? Quelle marque pour fortifier l'ensemble? Comment construire couche après couche dans l'espace, en n'utilisant que l'intuition et la touche? Le rôle du mur dessiné est diffèrent de ce qui sépare les pâturages ou qui définit la propriété, le dessin fonctionne comme un dossier de travail et d'expérience, une énigme sur la structure et l'équilibre, et une poursuite prometteuse de l'intégrité". Sara Schneckloth
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Mai/Juin 2011
ARTISTE EN RESIDENCE - SARA SCHNECKLOTH (USA) How do we hold memory? How do memories hold us? I pose these questions as the starting point for my work, as I strive to embody moments of remembering, and consider the relationship between the body’s physical performance of memory and inscriptive practice. My work deals primarily with imagined microbiological systems rendered on a macro- scale. I envision and create cells, organs, fluids, and tissues, and seek to assemble the elements into new systems of organic relationship and connection. I work in a variety of mediums and look for ways to take drawing beyond its traditional definition of “mark on paper.” I believe that the act of drawing is a way of residing in multiple states of awareness – of present, past, future – of what one is, has been, and hopes to become – of the physical, the mental, and the formal. I draw as a way to see more deeply, both inside and out, and to elevate the act of seeing to a process that is fully engaging of both body and mind. In the gesture of a drawing, there abides the question of how human beings hold memory. I care about how the body holds its history, and how that recollected history can be performed through the act of making embodied signs. Sara Schneckloth teaches drawing and critical practice at the University of South Carolina in Columbia. www.saraschneckloth.com
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16 avril au 21 mai, 2011
Exposition - Digital Dialogues JASON DAVIES/DARREN WILLIAMS (WALES) The origin of this collaboration was borne out of the desire to be more creative with electronic communicative technology, whereby the process of production is central to the project. Given our socially and personally shared limitations and imposed parameters regarding time, space and finance, we wished to develop a collaborative art form in which issues of geographical distance, finance, leisure time and working space, could be traversed by the mediation of commonplace technology- the home computer suite. We are currently engaged in a long distanced collaborative project utilizing the generic email system and creative packages within the home computer suite. Drawing occupies a central role in the work, often being both the initial drawn component scanned into the PC, and an integral part of the images development as it zips back and forth between collaborators in file format. The mark making is directed using either a drawing tablet or the mouse itself, and drawings are instigated by either collaborator. Although this form of pictorial communication is itself the primary subject matter, each individual dialogue is representative of concerns, expressions and incidents based on our own particular experiences and personal histories. We literally draw out the threads of our daily lives, ritually recording the most pertinent in sketch form. These ‘diaristic’ sketches are then worked upon and expanded until each subsequent e-drawing reaches completion. The sleeping partner in all of this is the machine, or program itself, for as expansive as the possibilities within each program may be, our choices are still confined within its parameters. A recent development has seen the project website develop beyond a mere depository for the dialogues into an arena where live works can be instantly uploaded, providing a visual blog. This has coincided with the utilization of photographic imagery collected with the ubiquitous mobile phone. digitaldialogues.co.uk
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Mars/Avril 2011
ARTISTE EN RESIDENCE - BEN SHEPPARD (AUSTRALIA) IDEA OBJECTS – Lineal sculpted forms that appear as if drawn into space. These can also be ‘traditionally’ drawn onto photographic images in a larger scale to appear as if in real space. Halfway between the idea and the realised object, these forms present a proposition of a potential form imagined by the viewer. My process often involves the production of 3D drawings or ‘Idea Objects.’ These objects operate as drawings whereby the concept that ‘the thinking happens in the making’ is at the core of their creation. Lines are edited during manufacture in a way similar to those made and erased with charcoal or graphite and an eraser. The lineal aesthetic affects a feeling of an artefact that operates somewhere between the idea of something and the object that it represents. Ben Sheppard
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Decembre 2010
Exposition - YANN LESTRAT - Current works (FRANCE) Artiste émergent Yann Lestrat présente ses dernières œuvres. Il réalise des formes invariablement simples, qui prétendent à une perfection absolue pourtant inatteignable : sphère en acier poli, peintures monochromes laquées, plaque de plexiglas transparente… Le choix de Yann Lestrat de recourir aux techniques et compétences issues de l'univers de la production industrielle participe à cet intérêt pour la finition de l'œuvre, mais aussi paradoxalement à son détachement du réel. Sa démarche créative investit souvent des paysages, des espaces publics ou des objets domestiques familiers, dans lesquels il introduit des perturbations inattendues qui troublent leur usage commun et l'ordre établi. 9 photographies Il s'agit d'un travail photographique qui s'attache depuis plusieurs années à produire des images d'éclairages domestiques (lampes, plafonniers, lustres), au hasard des visites et déplacements. Ces images sont ensuite sélectionnées et retravaillées, afin de faire ressortir pour chacune d'elles l'étrangeté que peuvent parfois receler ces équipements communs, auxquels on ne prête pas forcément attention. Ces éléments de confort ainsi appréhendés revêtent alors l'apparence de créatures bioluminescentes des abysses, ou de vaisseaux spatiaux tout droit sortis de la science-fiction. Il est d'ailleurs question dans ces deux cas d'abîmes, qu'ils soient marins ou inter-stellaires, évoqués avec humour au vu de la modestie de l'origine de ces images, porteuses de poésie et d'imaginaire. Nevroz Un objet condensant et exacerbant avec cruauté le principe des tableaux à niveaux : « Nevroz » est un niveau en bakélite créé par l’artiste . De forme sphérique, l’outil de précision est en perpétuel déséquilibre, objet de mesure impossible et surréaliste, entre objet usuel et sculpture. Oeuvre co-produite par La Criée, centre d'art contemporain, Rennes, avec le soutien du Sepa / Bon Accueil, Rennes La boule niveau « Nevroz » Réédition améliorée et illimitée en 2010, en partenariat avec Tamawa (Bruxelles) « Et in arcadia ego/Islande » Il s'agit d'un projet mené par l'artiste depuis 2003, visant à installer et à photographier dans des paysages naturels une bonde d'évacuation en acier inoxydable de 100 cm de diamètre. Le voyage en Islande, entrepris en septembre 2007, est la première concrétisation de ce projet à l'étranger. Ce livre, sans texte ni commentaire, présente trois séries de photographies montrant l'installation de la bonde dans les paysages islandais, les à-côtés du voyage, et un ensemble de polaroïds pris après l'extraction de la bonde. Un DVD en insert présente deux films documentaires de Nicolas Touzalin. 2009 : publication du livre «Et in Arcadia ego, Islande», accompagné d’un dvd, chez Zédélé Editions (Brest) COLLECTIONS PUBLIQUES
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Octobre/Novembre 2010
ARTISTE EN RESIDENCE - BRITT SALT (AUSTRALIA) My current practice exercises a multitude of ephemeral lines and the transparency of mesh to create works that reposition the way we know and experience space.
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