#Artistresidency Tiphaine Calmettes at Sputnik Oz
«Astragals» is the developed project by Tiphaine Calmettes (Paris, 1988) during her residency period at Sputnik Oz (Bratislava). The starting point of this artist’s work is the action of collecting images across Slovakia. Among the collected images her eyes stopped, particularly, on the shelves of the Natural History section in the Bratislava National Museum, which is full of fossils and corals, inert objects witnessing of a previous life: collections of random objects with constellation shapes, textures and motifs from caves and their stalagmites, prolifered plants in hostile environments…
For «Astragals» exhibition Tiphaine started creating related sculptures with the corals and fossils she saw during her travel through Slovakia, focusing on the texture of these objects and how their motives can be related with the human body. Calmettes thought about how the skin of a mineral could appear in her work and started to work with silicon to give to the creations the consistency of something lifeless’ dermis, as close as possible to the human skin. One of the silicon structures is inspired by corals and reminds a sleeping bag, the other was conceived as a cape inspired by the cave’s “skin”, covered by stalactites.
Humanity owns its created images, which form an almost endless quantity. Calmettes is insterested in images of all times and places, but during her time in The Spur, she focused her interest on the locality images, in order to get involved with its personal stories, historical facts, popular legends and zeitgeist: gathering images as a way to develop imagination.
Tiphaine Calmettes is involved in a line of thinking about the relations between architecture and landscape. Her research issues from a twofold gesture: collecting images, on the one hand, which, in her own words, enables her to “set her thinking in motion”; and, on the other hand, crisscrossing territories, in order to nurture her imagination.
Daria de Beauvais, cutator at Palais de Tokyo (Paris)
Through the shape assemblage the french artist attempts to create links, either physical or narrative, resulting both from experience and from the found documents: collected images like matrixs. Calmettes blurs the line between sculptures and depicted objects leaving space for new possibilities, forms and materials. By doing so, objects’ strata are added to the work’s reading, unfolding a time-based approach to the creative process. This work is about transitional states: empty spaces, unfinish constructions… All precarious forms are Tiphaine Calmettes’ favourite subject. Personifications of the feeling of loss and defect, rhizomatic modes of development and of reproduction.