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PINEAPPLE CONNECTION


Pineapple connection is a series of micro-installations created in 2017 for a duo exhibition of the same name in Reims, at the La Résidence contemporary art gallery, directed by Sébastien Rouet.

untitled 1, Pineapple connection series, Piece of dried pineapple, plastering paint roller, acrylic spray paint, bell-shaped glass cabinet 47 x 21,5 cm

 

UNTITLED 1

This micro-installation or glass bell sculpture consists of a plastering roller, a “Fresh glamour Eating different” label, a kitchen knife and a cutting board indicating a logo for meat that has been used extensively, and finally a plant with the foliage of a pineapple. The plastering roller here replicates a pineapple whose skin has been removed, revealing its eyes.


The staging evokes the artist's allegorical intention. What love story, what tragic end is hidden under this fragile protection? What fatal moment did she wish to justify? And why? To try, probably in vain, to understand it?  To better appreciate the ironic beauty, the game of pretenses that often reaches its climax at the crucial moment of the story when two ways of seeing no longer make an effort to get closer to each other, to the point of melting... or merging? To question this moment when the flayed eyes, raw, make fall the veil which blinded us, this veil set up by our unconscious to be able to love this Sartrean Other whom we will perhaps never understand? Or who imagined us to be different? 

When we remove the glitz and glamour and the implicit blindness, what remains of our love can be sharp. Enough to find freshness?

untitled 2, Pineapple connection series, Plastic stuff (parrot, pineapple, etc), spin, silk paper, cardboard box, stainless steel, zinc, epoxy, polyester box 26.5 cm x 26.5 cm x 16.5 cm

untitled 2, Pineapple connection series, Plastic stuff (parrot, pineapple, etc), spin, silk paper, cardboard box, stainless steel, zinc, epoxy, polyester box 26.5 cm x 26.5 cm x 16.5 cm

 

UNTITLED 2

Confrontation of noble materials such as glass and bronze, with plastic and cardboard put on a pedestal, a foot of stopover by a glass dome, Parrot is the meeting of the new and the old, the contemporary and the classic, the common and the rare, the popular and the museological. This presentation tends to transform the banal into the classic, to freeze the moment of everyday life into an object of memory. At the time of the cabinets of curiosity, the daily life of some (in the tropics for example), did it not make the interest of others. Between anthropology and psychology, questioning the notions of exoticism and tropical fantasy, the Pineapple connection series offers with this piece a new window on the springs of the unconscious. It is up to you to find the grain of madness that will take you out of the routine, like a meditative vacation bubble to take with a certain dose of second degree.

untitled 3 (or allegory of the two artists couple) Pineapple connection series, 2018, silk paper, scalpel, painted part of a dried pineapple, painted dried flower, straw, metallic coper armature, seeds, square glass, stainless steel, zinc, epoxy and polyester cabinet, 26.5 cm x 26.5 cm x 16.5 cm 

untitled 3 (or allegory of the two artists couple) Pineapple connection series, 2018, silk paper, scalpel, painted part of a dried pineapple, painted dried flower, straw, metallic coper armature, seeds, square glass, stainless steel, zinc, epoxy and polyester cabinet, 26.5 cm x 26.5 cm x 16.5 cm 

 

UNTITLED 3

Cannibal flower, destroyed poisoned pineapple, poisonous exotic cocktail? The Pineapple connection series offers a third allegory of love... or passion. This time the artist asks the question of whether in every love story, or friendship that ends in intensity, one of the two partners might not end up with a scalpel as a straw. It thus evokes this equivocal moment when communication is broken, one of the two stopping on his idea, not opening any more to those of the other. A univocal perception that distances the lovers from the truth, since the truth was precisely in the meeting of the points of view and truths of each. Destructured / restructured, this forbidden fruit, set in seed, has nothing more to give. What is stopping us from putting it in a box?

THE MIGRATORY BIRDS

The “Oiseaux Migrateurs” (Migratory Birds) facility is part of the collective exhibition of the same name. It is composed of hanging objects. Some of them were made from the aluminium of the millions of American bombs still to be cleared in Laos. This project required years of research (notably with the support of Sciences Po Paris) and the work of fifteen people ranging from the anthropologist to the interpreter, from deminers to lost-wax casters among other artisans, and the founding historian of the Cope Museum in Vientiane.