This group exhibition brings together works by Thomas Besset, Sofía Bonilla Otoya and Nina Jayasuriya, recent graduates of the Beaux-Arts, National school of Fine Arts in Paris, having studied with Julien Creuzet between 2022 and 2023.
Three artistic practices intertwine. A garden has grown into a pathway for forms finding themselves at the confluence of the living, the mechanical and the sacred. Replicas to the precarious altars we use in our daily lives, glazed ceramics have made their way into the space from its doorstep, and underline the magical nature of transmitting, of sharing knowledge. In the plant world, communicating implies offering a part of yourself to another: pollination teaches us the immaterial grace of giving. As the powdery spores spread across a carpet turned into blossoming golden grounds, lead flowers litter a moving, living, landscape, in which we can hear sculptures breathe. A copper and plastic pistil, evocative of the larynx and its saliva games, activates guttural sounds and embodies the mechanisms of language and articulation.
The verses that the title borrows from the poet Amina Saïd* enunciate a transitional reading of the world. A reading that underlines the multiple passages, movements and transformations that run through it, reflecting the very one that Nina Jayasuriya, Sofía Bonilla Otoya and Thomas Besset sketch out. Discreet hints in each of their pieces, holy, evaporated or swallowed waters enact the motion behind the flow of knowledge. Within the exhibition, they become implicit metaphors for the perpetual movement of our relation to our surroundings, as much as to ourselves. The gallery thus incarnates a common place, a physical and mental space of transmission, where landscapes meet within us.
In resonance with Glissant's aesthetics, the self, language and the world collide. This relational dynamic, inherited from the Martinican thinker, both accompanies and fuels the articulation of a permeable identity and an artistic practice.
*Amina Saïd, Paysages, nuit friable, op. cit (Vitry: Inéditions Barbares, 1980): p. 31.
