My work in sculpture is concerned with the concept of passage as related to the experience of crossing and with the aesthetic experience of the senses. Through immersive installations, I wish our bodies to be confronted with objects, shapes, and dimensions.
I am therefore proposing a work through which visitors can walk: 2000 metal rods crowned with recycled plastic bags are “planted” in 50 planks arranged like the many tiers of culture. At the centre of this sculptural field of plastic, evocative of contemporary issues, the semantic reading is contaminated by the sensory experience.
The experience involves walking on flexible boards—hyperbole of the gallery floor—while simultaneously having the impression of being in a field outside the room. I am particularly interested in this idea of being “inside” and “outside” the space and the work’s possible points of view.
The work is experiential (during the crossing) but it is also a sculptural installation to be observed from outside the field. The choreographic movement of the rods and the viewers’ bodies appearing between the rods, their heads hidden by the plastic tufts, form a disquieting landscape.
The crossing is also marked by an amplification of creaking planks and flapping plastic—ambient sound that deepens the immersive potential of the installation.