THE MEMORY OF INANIMATED OBJECTS

“Take an object / Do something to it / Do something else to it. [Repeat].(Jasper Johns, sketchbook note, 1964). 

Remains and left overs surround us. How can objects shape us?
 Do they behold the power of time passing by? Silent witnesses of the existence, the transformations, the physical and perceptional mutations. Do  objects have a memory and a cognitive ability to constantly impact our past and future through storing information?
 Can memories retained in objects be retrieved, communicated, re-assembled. Which brings us to the concept of energy or Memory mutation. Can we disrupt the initial function of the object leading to a new order, a new energy and new relationships? 
In progress
In progress
Remains
Remains
Remains
Remains
INSTALLATION

“Tale of a city” is an assemblage made of “found objects”.
Metal cuts scavenged from the street, in front of an ironwork manufacture. 
 It belongs to a Serie of work on Memory and raise the question that un-animated objects have a memory and a cognitive ability to constantly impact our past and future through storing information. 
Transmutation  genders movement and rhythm. In this case the still objects express monotony and repetition: the objects belong to the same family since provided form a same source (all metal cuts) and are positioned in a rigorous grid. 
A wink to Erik Satie’s monotony in his “Gymnopedie 1” where the rhythms are long and sustained, creating a sense of floating through time.
"Tale of a city" explores the architectonic language of  void and plain, patterns, proportions, interactions, shadows and lights, perspectives, movements, energies, rhythm. 
The remains are a reincarnation of disparate objects from chaos to an architectonic minimalist grid enhancing new relationships between the  entities.
No change has been brought to the “remains” primitive aspect. 
The eroded and rusted side emphasizes on identity, time and transmutations. In a will for authenticity and truth, the welded parts are kept visible as well as the traces of random sawing. 
Beyond that lies the statement of disrupting the value of the aesthetic approach to making art.

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