Contemporary Art in the Americas Arte Contemporáneo en las Américas

Same Same

Victoire Barbot

Downtown Hotel México City, México 05/21/2015 – 05/21/2015

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My sculptures do not come from predisposed drawings or mental images.

I just keep one image in my mind, it is mine, it is a store.

I lost all objects and images filling that store. Just as I did not keep their mental representations.

There are no more objects. They have been lost, just as what they represent has been lost.

I collected what was left in the store; presentation materials.

These materials have the ambiguous role to show something while making themselves invisible. They were designed for rapid manipulation of a single handler.

My materials may be the base of a frame, a gates, rails, brackets, but also shelves, cabinets, fabrics. All shelving materials.

They are orphaned, they lost what they were supposed to present.

I created time for inventory to analyze these materials.

Usually helpful to each other, I reinvented their function.

My process produces the assemblages. It is an art of experience to give rise to a form.

I’m not trying to produce the mental image of an object but the image of an interaction between myself and the materials. An image that is born from the desire to manipulate objects.

The sculpture is the result of this posture.

The action and processes of balance take the place of the past image, as a method to make the present.

I call these assemblages, Misensembles.

Rarely set, combined materials eventually manage themselves in a precarious balance.

Each element is part of the balance, whether physical or visual.

The assemblage is precision and precise, even small things show traces of the birth of form, they are aids to stall, fill, hold, and rebalance. Here a needle, there a shell.

The drawings are a record of what happened.

The image of the action is fixed on the sheet.

The process is done by packing the Misensembles in a mental box.

This representation only exists drawn.

Photo: Isauro Huizar & Francisco Cordero-Oceguera

9

1

4

My sculptures do not come from predisposed drawings or mental images.

I just keep one image in my mind, it is mine, it is a store.

I lost all objects and images filling that store. Just as I did not keep their mental representations.

There are no more objects. They have been lost, just as what they represent has been lost.

I collected what was left in the store; presentation materials.

These materials have the ambiguous role to show something while making themselves invisible. They were designed for rapid manipulation of a single handler.

My materials may be the base of a frame, a gates, rails, brackets, but also shelves, cabinets, fabrics. All shelving materials.

They are orphaned, they lost what they were supposed to present.

I created time for inventory to analyze these materials.

Usually helpful to each other, I reinvented their function.

My process produces the assemblages. It is an art of experience to give rise to a form.

I’m not trying to produce the mental image of an object but the image of an interaction between myself and the materials. An image that is born from the desire to manipulate objects.

The sculpture is the result of this posture.

The action and processes of balance take the place of the past image, as a method to make the present.

I call these assemblages, Misensembles.

Rarely set, combined materials eventually manage themselves in a precarious balance.

Each element is part of the balance, whether physical or visual.

The assemblage is precision and precise, even small things show traces of the birth of form, they are aids to stall, fill, hold, and rebalance. Here a needle, there a shell.

The drawings are a record of what happened.

The image of the action is fixed on the sheet.

The process is done by packing the Misensembles in a mental box.

This representation only exists drawn.

Photo: Isauro Huizar & Francisco Cordero-Oceguera

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