Hello, my name is Sarah, I am a student at the Beaux Arts d'Avignon, and throughout my studies I was able to tackle several aspects of contemporary art. Since then I have structured my relationship to the world through the language of art. I try to exploit as many artistic fields as possible such as space drawing, photography, sculpture, participatory art and the use of digital technology.

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My current work is based on the evolution of the different stages of the states of the sculptures / installations that I design. I make installations / sculptures, built and thought in relation to chosen spaces and which then go on to develop / evolve differently in other spaces. To do this I have created reinstallation protocols that will be activated by an audience. Thanks to the establishment of notices my work is constantly evolving over time.

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Explanation:

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The first step of the work is to immerse yourself in a place, whether it is a natural / artificial space, interior / exterior etc ... To do this, I take photographs and sketches allowing me to quickly visualize the shapes organization, evolutions and dynamics of the chosen space. It is an intellectual process: observation, selection of information, representation in a given space. Photography and sketching thus contribute to the training of my critical mind, to the expression of my ideas, my analyzes and to learning to look at things.

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The second step is to collect objects that appeal to me, whether by their shapes, colors or materials, to then assemble them. The recovered objects are mixed with constructions made by hand from "poor" materials, such as thread, scraps of plywood, cardboard or paper, which, thanks to their almost archival arrangement, draw the lines in space. of a composition in equilibrium. If I reappropriate objects, divert them and confront them, it is to arouse surprise and questioning. By changing our relationship to things, the assembled objects deliver us new combinations, a new message, an ambiguity of use. I try to shatter stereotypes and the codes that govern them. My works evoke pictorial compositions through the subtlety of shapes and colors, play with mise en abyme like sculptures with multiple perspectives. I design landscapes of abstract nature inspired by miro / kandvisky canvases and installations by sarah Sze and Yuko Mohri which despite the apparent absence of hierarchy between the elements, manage to guide the gaze and thus create a kind of optical movement . I specify that my objects are neither glued nor attached together, they just balance on each other. So if an object falls, it is a new state of creation, a new form. The installation is not fixed and is completely flexible over time and can be reborn in another place.

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Then, the third step is based on the creation of a written and photographic inventory of each piece where I make a classification through different categories, such as the shapes, colors and materials of the objects. Thus, This phase allows me to perform a remembrance assignment and keep an eye on the progress of the work.

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The fourth step consists in carrying out in parallel of the inventory, a protocol of relocation of the work. It generates documents, photographs, assembly plans, and other written explanations allowing institutions to show the installation in a desired state. The implementation of the protocol by Daniel Spoerri is a true example; Indeed, he is one of the first to have documented his practice of protocol, leaving it to a third party to produce works in his name. In 1961, he authorized the artist and gallery owner Addi Koepcke to produce trap paintings in his name for the Danish May Salon. But also the artist Jana Sterbak with the work "meat dress" which includes a protocol with a notice uploaded: "this dress must be made for each new presentation so that the aging process can be seen" . This protocol allowed me to integrate a reinstallation notice and thus to be able to develop my installation in order to play with the temporal parameter according to different modalities. Indeed, I can make an installation last for several months or only a few days without intervening on it or on the contrary making a modification. They can be reborn in another place, being totally changed or not. They are fully modular and moving over time.

In order to move the work so that it can evolve, I was inspired by Marcel Duchamp's Box-in-suitcase, bringing together the works he has produced since the start of his career. Thanks to the wealth of objects it contains, this edition has become a work in its own right. So I built transportable boxes equipped with Flash code, more or less large, according to the installations carried out beforehand. We understand that the box is not only an object of storage and movement, it is also the embodiment of the transition between the "dead" and "living" forms of my work; it can be seen as the tomb / coffin or as a mobile sculpture kit. This device allows me to accept that my artistic process works like an assemblage, an editing system. Unfolding an installation means bringing it back to life and making it evolve differently, over time and in various environments. So my box is the heart of this evolution and becomes a work in its own right. It is part of the process of activating the work, it is in a state.

By using digital technology (QR code on the box), I allow the viewer to intervene in QR coding the box and thus create a physical movement. It is then active and no longer passive. Placed at the heart of the artistic process, he is immersed in an environment where his senses will be stimulated. Indeed, the flash code includes a reinstallation notice. Stakeholders are therefore required to participate in shaping a new state of the installation by reusing the objects in the box and then putting them back in and thus activating a continuous cycle as long as an actor's imagination is ready. to awaken it, to give it form, birth. The digital being omnipresent in the current world, allows me to keep the actor in the present by making the spectator do “usual” tasks, like taking a photograph via his smartphone, to then immerse him in something much more manual , the installation of the work using the digital instructions. This game allows me to create a contrast between the digital and the manual allowing to highlight a more singular evolution, the human evolution. Thus, I use several phases of the movement and the different stages of the states of the work while knowing that the installation is not imperishable, indestructible and that it is subject to falls, mistreatment, change of the QR code etc… The passing of time will inevitably get the better of her one day.