PERFORMANCE, SCULPTURE, VIDEO
HOW DOES A PERSON COME TO BE INTERESTED IN THE EXACT HEIGHT AT WHICH HE SEES A FLY
"The agility this limping brings about. Entering a plastic room of M’s exhibition, bones were covered in plasticine, it was all about the soft part that holds and keeps the bones, I felt. Plasticine that holds its shape until it gets moulded, heated in the palms of hands, chewy but not, like tendons. I felt tendons and protection. She walked around on her own axis, carrying on her a big horse protection sheet, she imitated shapes she could be. Hermetically sealed she and the space, the bones on the floor and the thoughts she showed in text or videos on her phone, all limping jumps. I remember so well how her leg debilitated her for months, from its stubborn diagnosis to its moody cure, and her strong will overruling the thing she always referred to ask "da been", that leg. Partly hers, partly detached, it took her over, shadowing and leading her.
The leg brought her places and kept her glued to the mattress that was parked in the living room in front of the sofa, somehow becoming a second sofa, a descended sofa, an extended sofa, as did she.
In this plastified exhibition space she became an incomplete horse- sign of strength and body. She decomposed and arranged between the hard and the soft; showing in seeming abstraction, a sensation. A malleability. A segment arranging others.
Much like the video medium she introduces in the sequencing or the edit she shows on her phone. A man in shorts practicing handstand his legs shadowing in an ellipsis, people interacting seen from the top, a (...). At a certain point she zoomed in to show something specific; it is quite unclear what she is pointing at, but like in the rest of the show, she sprinkles shape towards tendons."
Text by Céline Mathieu