29 August 202213 January 2023

2022 – BAROCKER INFRAMINCE

This project was supported by the Vereins der Freunde der villa Concordia and the Stipendienprogramm des Freistaats Bayern “Junge Kunst und neue Wege”.

Solo Show 29.09.22 – 23.10.22

Installation view in the exhibition space of the Internationales Künstlerhaus Villa Concordia, Artist residency in Bamberg, Germany. https://www.villa-concordia.de/en/

Solo show. Video 4’40. September 2022. Villa Concordia ©garancearcadias

BAROCKER INFRAMINCE

UV print on laminated glass.
A triptych on a wooden base 190/60/60 cm
Two panels of 4 panes each 190/60/120 cm
3 single-pane sculptures on metal base 190/60/80 cm

The sculpture created in Marseille was extended for the exhibition space of the Villa Concordia by developing the technique and the intention, which conceptualises the notion of « infra-mince » and disappearance of the work.

Different perspectives of the exhibition space were captured at different times of the day. Their black and white negatives were printed in such a way as to emphasise the passage of light and shadow in the space. The voids are transparent areas that are adjacent to the relief areas of gradations ranging from grey to black and losing intensity as the visitor progresses. The visitor tries to recompose images that are abstracted by disappearing into the external nature that ultimately penetrates the work. The last cracked pane of glass, with its almost transparent reliefs, is the last infra-thin membrane
membrane that separates from reality.

The installation proposes a displacement of the gaze through the sculptures which question the architecture of the two places; that of production (the Marseille studio) and that of the display, also included in the composition in the space of Villa Concordia. A play of scale and style is set up between the spaces that make up and interweave this sculpture: baroque architecture with its folds and its multiplication of points of view rendered in a classical form specific to “Sprezzatura” or contemporary nonchalant disappearance. The work also echoes church architecture (stained glass windows) confronted with the “urban art” of vandalised shop windows in Marseilles (first image chosen). The absent and past urban space contrasts with real nature, visible through the windows. The vision alternates between the interior mise en abyme and the new perspectives induced on the exterior environment, while the impressions that have become « infra-thin » tend to disappear.

Full introduction to Garance Arcadias’ work by curator, author and visual artist Thomas Eller available at the bottom of the page.