{"id":1439,"date":"2021-06-06T13:22:07","date_gmt":"2021-06-06T11:22:07","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1439"},"modified":"2024-08-02T19:07:05","modified_gmt":"2024-08-02T17:07:05","slug":"awena-cozannet","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/awena-cozannet\/","title":{"rendered":"Awena Cozannet"},"content":{"rendered":"\n
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Awena Cozannet<\/span><\/h2>\n

N\u00e9e en 1974
Vit et travaille \u00e0 Romans-sur-Is\u00e8re<\/p>\n

Cinq formes min\u00e9rales et organiques composent un paysage, lac en absence et monumentalit\u00e9 de la montagne. L\u2019installation appelle au corps dans le creux de ses lignes sensuelles, plis, strates, s\u00e9dimentations de roches.<\/p>\n

Ce qui nous rassemble<\/em> invite \u00e0 r\u00e9fl\u00e9chir \u00e0 notre histoire commune, \u00e0 ce qui nous lie et nous structure. Elle interroge la notion de fronti\u00e8re et la notion d\u2019\u00e9cart entre soi et l\u2019autre, ce qui d\u00e9finit notre identit\u00e9. Elle questionne la fronti\u00e8re physique et celle de notre pens\u00e9e en r\u00e9sonance avec l\u2019urgence du d\u00e9placement et la n\u00e9cessit\u00e9 du mouvement \u00e0 l\u2019aune de l\u2019actualit\u00e9 migratoire et climatique.<\/p>\n

Chaque sculpture est con\u00e7ue \u00e0 partir de sangles haute t\u00e9nacit\u00e9 destin\u00e9es au rebut car non conforme, sangles mortes<\/em> selon le vocable industriel, entre deux bains de teinture, sangles couleurs verts d\u2019eau, rivi\u00e8re, prairie, bleu glacier et blancheur des cr\u00eates.<\/p>\n

La d\u00e9marche d\u2019Awena Cozannet est de cr\u00e9er \u00e0 partir des enjeux de contexte, de rencontres et de mati\u00e8res qu\u2019elle transforme. Le corps est le mat\u00e9riau. L\u2019origine. Ses paysages de sculptures pr\u00e9sentent une lecture abstraite, symbolique du monde. La sculpture a une pr\u00e9sence physique qui r\u00e9active une m\u00e9moire archa\u00efque du mouvement. C\u2019est le pouvoir de l\u2019image et la puissance de la mati\u00e8re. Que nous rappelle cette image ? Quel r\u00e9cit charrie-t-elle ?<\/p>\n

Sangles, cordes, fragments de b\u00e9ton…  Elle transforme la mati\u00e8re par des techniques simples, nouage, assemblage, couture. Des mati\u00e8res neuves issues de chutes de production, de mati\u00e8res issues du recyclage. Chaque sculpture n\u00e9cessite un long temps de fabrication solitaire et manuel. Le dessin accompagne le processus de cr\u00e9ation comme une trace de la pens\u00e9e, un terrain de recherche \u00e0 part enti\u00e8re.<\/p>\n

D\u2019un langage \u00e0 un autre. Du mot \u00e0 l\u2019image. Du dessin \u00e0 la forme. Progressivement, la mati\u00e8re devient le sujet de son travail comme un langage du monde et de l\u2019histoire des hommes. Interroger la valeur de l\u2019existence.<\/p>\n

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Born in 1974. Lives and works in Romans-sur-Is\u00e8re<\/em><\/p>\n

Five mineral and organic forms make up a landscape, a lake in absence and the monumentality of the mountain. The installation calls to the body in the hollow of its sensual lines, folds, strata, sedimentations of rocks.<\/em><\/p>\n

What brings us together invites us to reflect on our common history, on what binds and structures us. She questions the notion of border and the notion of gap between oneself and the other, which defines our identity. It questions the physical border and that of our thoughts in resonance with the urgency of displacement and the need for movement in the light of current migration and climate.<\/em><\/p>\n

Each sculpture is conceived from high tenacity webbing destined to be discarded as non-conforming, dead webbing according to the industrial term, between two dye baths, webbing in the colours of water green, river, meadow, glacier blue and the whiteness of the ridges.<\/em><\/p>\n

Awena Cozannet’s approach is to create from issues of context, encounters and materials that she transforms. The body is the material. The origin. Her sculptural landscapes present an abstract, symbolic reading of the world. The sculpture has a physical presence that reactivates an archaic memory of movement. It is the power of the image and the power of the material. What does this image remind us of? What narrative does it convey?<\/em><\/p>\n

Straps, ropes, concrete fragments…  She transforms the material using simple techniques, knotting, assembling, sewing. New materials from production scraps, materials from recycling. Each sculpture requires a long time of solitary and manual fabrication. Drawing accompanies the creative process as a trace of thought, a research field in its own right.<\/em><\/p>\n

From one language to another. From word to image. From drawing to form. Gradually, the material becomes the subject of his work as a language of the world and of human history. Questioning the value of existence.<\/em><\/p>\n

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> Retour Artistes 2021<\/strong><\/a><\/span><\/p>\n<\/div>\n\n\n\n

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Ce qui nous rassemble – 2019<\/strong>
Sangles cousues, cinq \u00e9l\u00e9ments, socles m\u00e9tal,
Dimensions variables
Cr\u00e9ation en r\u00e9sidence artistique, Mus\u00e9es-Ch\u00e2teau, Annecy, 2019
Technique : Couture \u00e0 la main et \u00e0 la machine<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Awena Cozannet N\u00e9e en 1974Vit et travaille \u00e0 Romans-sur-Is\u00e8re Cinq formes min\u00e9rales et organiques composent un paysage, lac en absence et monumentalit\u00e9 de la montagne. L\u2019installation appelle au corps dans le creux de ses lignes sensuelles, plis, strates, s\u00e9dimentations de roches. Ce qui nous rassemble invite \u00e0 r\u00e9fl\u00e9chir \u00e0 notre histoire commune, \u00e0 ce qui …<\/p>\n

Awena Cozannet<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1439"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=1439"}],"version-history":[{"count":6,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1439\/revisions"}],"predecessor-version":[{"id":3565,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1439\/revisions\/3565"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1439"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}