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06.2014-Aire-CH

action, 28'

// 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
your skin
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 includes
the context - a context which offers materiality, and, thus, potential tools. This is the genesis of creation, and these steps are as important
as 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:
this is 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.








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© / by amélie freyche leblanc / 2016-8 / all rights reserved