The close relationship with craftsmen is an integral part of my work. I have always been fascinated by their movements, their hands and their worn, dirty, flayed tools. My first encounter was during a workshop at the Centre International d'Art Verrier in Meisenthal, France. I was captivated, hypnotised by the carnal relationship that the glassblower can have with his material, and I observed this same relationship with technicians and ceramists during my artistic residency at the Beaux-Arts de Limoges. As a result of these encounters, I created a sound and visual orchestra called "Les Soupirs" in 2020. This installation was exhibited during a groupshow "Between dog and wolf" at the Four des Casseaux, the oldest ceramic kiln in Limoges, created in 1904, and classified as a historical monument.
Objets spécifiques accouplés is a sculpture that could be defined as "ready-made". The tools I recover are for me living beings, as Patti Smith writes in her book M Train, her romantic way of talking to her objects particularly touches me.
A Japanese spiritual idea says that an object over 100 years old has a soul. The Japanese aesthetic concept of wabi-sabi which links two principles: Wabi refers to the fullness and modesty that one can experience in the face of natural phenomena, and Sabi, the feeling in the face of things in which one can detect the work of time or of men.
This wooden centenarian has been petrified by fire thanks to the ancient Shou Sugi Ban Japanese technique, is now charcoal, it should not move for the next couple of centuries. It will be for a while united to this crystallised constrained breath. These two contrasting objects, rough, coal black on the one side, and slick transparent on the other side, are united, creating a tension between them, a balance. The hand of man can break their union. This glass bubble is an expiration. It represents our oxygen, our air, our spirit.
By recovering these tools, my intention was to give a breath of fresh air to these forgotten objects which were used for work requiring a sustained effort and great tenacity.
For the title, I was inspired by Donald Judd's 1965 text "Specific Objects" and his radical relationship to form, material and space.