{"id":1466,"date":"2021-06-06T14:04:41","date_gmt":"2021-06-06T12:04:41","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1466"},"modified":"2024-08-03T08:59:09","modified_gmt":"2024-08-03T06:59:09","slug":"juliette-minchin","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/juliette-minchin\/","title":{"rendered":"Juliette Minchin"},"content":{"rendered":"\n
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Juliette Minchin<\/span><\/h2>\n

N\u00e9e en 1992
Vit et travaille \u00e0 Paris<\/p>\n

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Juliette Minchin vit \u00e0 Paris o\u00f9 elle d\u00e9veloppe sa pratique de la sculpture, de l\u2019installation, de la vid\u00e9o et du dessin. Dipl\u00f4m\u00e9e de l\u2019\u00c9cole nationale Sup\u00e9rieure des Arts D\u00e9coratifs en sc\u00e9nographie et des Beaux-Arts de Paris, elle met en sc\u00e8ne ses \u0153uvres en travaillant la mati\u00e8re, la lumi\u00e8re, la dimension olfactive et le son.<\/p>\n<\/div>\n

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Dans son travail, elle explore principalement les concepts li\u00e9s \u00e0 la transformation. Marqueur du temps qui passe, chacune de ses \u0153uvres est le plus souvent d\u00e9clin\u00e9e en s\u00e9rie, pr\u00e9sent\u00e9e sous diff\u00e9rents \u00e9tats, jouant alors sur une ambigu\u00eft\u00e9 essentielle : naissance de la mati\u00e8re ou mort de la forme, ici, le d\u00e9but et la fin se confondent. L\u2019emploi de mat\u00e9riaux naturels (terre, cire ou liquide) conf\u00e8re \u00e0 ses sculptures une dimension ind\u00e9niablement organique, dont la surface est proche dans son aspect de la peau. <\/p>\n<\/div>\n

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La cire occupe aujourd\u2019hui la place centrale de son travail : r\u00e9activ\u00e9e \u00e0 l\u2019infini, la m\u00eame cire est utilis\u00e9e et refondue pour des pi\u00e8ces successives comme une \u00e2me quitterait un corps pour un autre. Son travail se d\u00e9truit et rena\u00eet ainsi comme un mandala tib\u00e9tain. La r\u00e9p\u00e9tition d\u2019un m\u00eame geste et l\u2019\u00e9volution al\u00e9atoire de la mati\u00e8re leur conf\u00e8rent un aspect processuel. <\/p>\n<\/div>\n

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Juliette Minchin immerge le visiteur en l\u2019invitant \u00e0 une introspection, de telle sorte que l\u2019exp\u00e9rience qu\u2019elles proposent, d\u2019apparence mat\u00e9rialiste, se r\u00e9v\u00e8le potentiellement \u00e9sot\u00e9rique. Les espaces fictifs que Juliette Minchin cr\u00e9e peuvent en effet \u00eatre per\u00e7us comme des lieux rituels. Le r\u00e9pertoire de formes hi\u00e9ratiques et sacr\u00e9s, qu\u2019elle emprunte \u00e0 des arch\u00e9types communs \u00e0 diff\u00e9rentes cultures, r\u00e9veille alors chez le spectateur des r\u00e9flexes animistes, mystiques ou spirituels, introduisant une forme de transcendance au c\u0153ur de la mati\u00e8re.<\/p>\n<\/div>\n

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Omphalos<\/i> appara\u00eet comme une architecture sacr\u00e9e, un sanctuaire imaginaire. <\/p>\n<\/div>\n

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L\u2019\u0153uvre s\u2019inspire des traditions qui c\u00e9l\u00e8brent le passage du temps au moyen de la cire. Elle puise son imaginaire \u00e0 l\u2019architecture des mausol\u00e9es, monuments comm\u00e9moratifs dans diff\u00e9rentes cultures. En r\u00e9f\u00e9rence aux bandelettes de laine qui prot\u00e9geaient l\u2019Omphalos dans l\u2019Antiquit\u00e9 grecque, Juliette Minchin enveloppe partiellement la structure de grands lambeaux de cire d\u00e9pos\u00e9s les uns apr\u00e8s les autres, alors qu\u2019ils \u00e9taient encore chauds et mall\u00e9ables. En \u00e9cho \u00e0 la tradition de la vanit\u00e9, l\u2019artiste met en \u0153uvre une plasticit\u00e9 destructrice, une fa\u00e7on de sculpter par effacement.<\/p>\n<\/div>\n

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Par les jeux de transparence, la teinte de carnation et le caract\u00e8re protecteur qu\u2019offrent la cire, la mani\u00e8re dont l’artiste la travaille s\u2019apparente \u00e0 celle des sculpteurs antiques qui cherchaient \u00e0 rendre au marbre un aspect proche de la peau. La cire, depuis toujours associ\u00e9e au visage et au corps humain, prend ici la forme d\u2019un v\u00eatement architectural. La structure m\u00e9tallique donne le mouvement et la volum\u00e9trie aux drap\u00e9s de cire, comme une ossature qui soutient la peau. La \u00ab peau \u00bb reprend alors le sens de sa d\u00e9finition dans l\u2019architecture o\u00f9 elle d\u00e9signe la surface nue du b\u00e2ti, la fa\u00e7ade. <\/p>\n<\/div>\n

L’artiste manipule ainsi les mod\u00e8les architecturaux comme elle rassemble les rites qui l\u2019inspirent. Le croisement de cultures est une fa\u00e7on de redonner de la modernit\u00e9 \u00e0 un d\u00e9cor ancien, \u00e0 des rites disparus tout en offrant un visage nouveau \u00e0 l\u2019architecture o\u00f9 plusieurs formes arch\u00e9typales se rencontrent librement. <\/p>\n

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Juliette Minchin lives in Paris where she develops her practice of sculpture, installation, video and drawing. Graduated of l\u2019Ecole Nationale Sup\u00e9rieure des Arts D\u00e9coratifs in set design and les Beaux Arts de Paris, she has an immersive approach staging her works by working on matter, light, sense of smell and sound.<\/span><\/em><\/p>\n<\/div>\n

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In her work, she mainly explores concepts related to transformation and cyclic time. Most often revealed in series, her artworks are presented under different states, playing then on an essential ambiguity: birth of the matter or death of the form, here, the beginning and the end are confused. The use of natural materials (clay, wax or liquid) gives her sculptures an undeniably organic dimension, whose surface is close in its appearance of the skin. Wax is central in her work: reactivated ad infinitum, the same wax is used and remelted for successive pieces as a soul leaves one body for another. Her work is destroyed and thus reborn as a Tibetan mandala. The repetition of the same gesture and the random evolution of the material give them a processual aspect.<\/span><\/em><\/p>\n<\/div>\n

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Juliette Minchin finally includes the viewer by inviting him to an introspection, so that the experience she proposes, seemingly materialistic, is potentially esoteric. The fictional spaces that she creates can indeed be perceived as ritual places. The range of hieratic and sacred forms, which it borrows from archetypes common to different cultures, awakens animist, mystical or spiritual reflexes in the spectator, introducing a transcendence form into the heart of matter.<\/span><\/em><\/p>\n<\/div>\n

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Omphalos<\/span> appears as a sacred architecture, an imaginary sanctuary. <\/span><\/em><\/p>\n<\/div>\n

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The work is inspired by traditions that celebrate the passage of time using wax. She feeds her imagination from the architecture of mausoleums, commemorative monuments in different cultures. In reference to the woolen bands that protected the conic stone Omphalos in ancient Greece, Juliette Minchin partially envelops the structure in large shreds of wax placed one after the other, while they were still warm and malleable. Reminding the tradition of vanity, the artist uses a destructive plasticity, a way of sculpting by erasure.<\/span><\/em><\/p>\n<\/div>\n

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Through the play of transparency, the tint of skin tone and the protective character offered by wax, the way the artist works it is similar to that of ancient sculptors who wanted to give marble an appearance close to the skin. Wax, always associated with the face and the human body, here takes the form of an architectural clothe. The metal structure gives movement and volume to the wax drapes, like a framework that supports the skin. The “skin” then takes on the meaning of its definition in architecture, where it designates the naked surface of the frame, the facade. The artist thus manipulates architectural models as she brings together the rites that inspire her. The crossing of cultures is a way of restoring modernity to an old setting, to vanished rites while offering a new face to architecture where several archetypal forms meet freely.<\/span><\/em><\/p>\n<\/div>\n\n\n\n

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