Leaves are growing. Soon, the xanthogaleruca luteola will establish on the
elm’s leaves and will devour them. The tree will feel like breathless. You will
see him, to fight against
the asphyxia, growing new leaves and live a second spring.
Althought, these effort will drain him. [...] The destiny is unsettled ; a flick
creates a new world. The one who has planted this elm did not deliberate on its life’s
brevity. Like him, throw onto the action without looking farest than your feets,
and you will save the elms.
Alain, Propos sur le bonheur, Les ormeaux
The artificial island of quartz is a space of ritual and a space of work. It is by
transforming the residual and untapped material of This is also
that I close a period of learning, experiences and discoveries. It is, at the same,
opening fresh tracks for the future.
Time. I spent three years learning by myself to craft, taking time to shape ideas,
by, often, running after the time. I measured how the time
we choose to spend
shaping ideas, then the time we spend giving its materiality makes a project
strong or can be a trap. However, the dimension
time is not simply delimited
in the (1) conception phase and the (2) realisation phase. It is not that bound
together in my mind. The action
has its own timing, and the material as well.
Quartz. The material used to create the ritual was, I suppose, remnants of a
construction. I founded it close to the intervention spot.
Two piles of broken
slabs of quartz, aging in the sun, since. And before humans decided to use it
to build some construction by transforming
it in regular pieces, it was only
a part of the natural ground, crude. It has been handled many times over for
a range of different goals. Now,
again, it is remnants: remnants of the set
of the action Quartz, lead and time: genesis of an heterochronic workbench.
Lead. During the previous project, This is also your skin, we anticipated a
problem that ultimately was not an issue. To smooth the movement
of the suspended
pieces of Tyvek®, we bought lead fishing weights that we could clamp at the
bottom of the each layer. But the natural
movement was much more interesting,
and gave me the basis of Quartz, lead and time: it will be about the
transformation of these seven
kilos of lead fishing weights.
Action. Since the beginning or my research, The will was to abandon in the forest
an object that manifests (1) a return to the nature,
a sort of gift that tributes
how the ornament comes from its roots, (2) a past action, a memorial moment.
Actions, all together, are the time.
Transforming the materiality of lead
is a way to play with the time by composing articulated actions. To realise each
one of these actions,
I used tools, sometimes impromptu ones, such as a
branchwood. A method of practice, that, once again, includes the hand, that
the context - a context which offers materiality, and, thus, potential
tools. This is the genesis of creation, and these steps are as important
the final shape.
Perseverance. First, the perseverance of the lead, then of me. Predictably, it
happened in some others ways that I expected. Nevertheless,
I never really project
myself in the action. The steps were precise, but not imperative, just as the main
and necessary basics, that could
be adapted according to the reality, by improvising
according to the first instincts. So much comes during the process of doing:
in the adjustments, by testing the capacity of the tools to their limits, that
the design-action exists.
Forest. Let it remain here, it will get experienced and grow up. It will
rise, it will move, it will create its intimate territory, its piece of earth, its nest.
Geneva, June 2014