Aude Fourel

Installation made on Jacquard cardboxes collected at the old viscose factory TASE in Vaux-en-Velin, near Lyon.
It is made of two curtains of 80 (L) x 220 (H) cm and arranged in space with two stones on which printed fabric are left.
Photographic printing with Golden medium gel (mat).

Roman walkers with suspended footsteps, infinite and daily repetitions of Gradiva: the city became bare thread, walking, crossing, weaving footsteps, becoming interlacing and following the thread of silent stories.

(The fall)

In his collection of writings on art, Autoportrait au visage absent, thus entitled in reference to Ernst Mach drawing Self-portrait without a mirror, Jean Clair writes:
“This self-portrait with no head, this acephalous portrait, is the most common immediate self-experience that we could imagine, since it is the image of us that we have at any moment. (…) This “unsaveable”, scattered, vanished representation of myself, how can I apprehend it? We do not hear ourselves talk, we do not see ourselves walk. Can we see ourselves seeing ourselves?”
(Jean Clair, Autoportrait au visage absent, Gallimard, 2008)

5 photographs (30x40cm) printed on Arches watercolours paper with Rollei light-sensitive emulsion.

Edition of artists postcards for the project Swiss Chalet during the Saint-Etienne International Design Biennial, 2013.
2012

Rome, Furio Camillo Theater, 2010
Printed on Arches paper with Rollei light-sensitive emulsion.
Fantasma, ghost, fantasy.
Motionless crossing,
Ritual performance of a disappearance,
Self-portrait with a missing face.

Finalist of the Argot award 2010, Argot theater, Rome.
2010

(At the end of a desire journey)

“The left (foot) was already ahead and the right one, about to follow, was hardly touching he ground by the tip of the toes while the sole and the heel were almost standing vertically. This movement provoked a double sensation: the light ease of the woman walking at a high pace, and at the same time, the assured appearance of a mind at rest. Her particular grace originated from this way of gliding above the ground while trampling over it. Where did she go like this and where was she going?” (Gradiva, a Pompeiian fancy, W. Jensen, 1903)

This set originates from the crossed reading of Gradiva from Jensen, Feuilles de montage pour une Gradiva cinématographique from Raymonde Carasco and Trisha Brown's notes on the weight and the state of falling. Through the repetition of a sequenced, instantaneous and invented time, I have looked for the vertical crossing of the plan and the suspended movement: line-movement, gesture-object.
“Every step is a disrupted fall. The most important thing is to protect this state of falling, not by physics principles, but according to a self-awareness experience that brings the body weight into a source of thoughts. The movement then arises as at the ridge of a dream, a slow motion.” (Trisha Brown, Danse, précis de liberté, Editions RMN/Musées de Marseille, 1998)

3 Polaroids, cibachrome printing.
2010