Personal notes__

Anne EVEN, may 2009

« L’art n’est pas clair, à l’image de l’homme, mêlé de concept et de sensible. » Eric Madeleine, conférence « D’un territoire, l’autre » ESAG Grenoble 2006.

My plastic work explores what I call the «anthropographics» of the body. It reflects my interest in identity and the uniformisation of thought, and also, my fascination for our
physical relationship with space.
Social anthropology looks, among others, at the study of kin relations and at the social policy and organisation of human bodies. My research concentrates on political or intimate
situations asking questions about the plastic presence of a living being when its sensitivity
is subjected to a sort of regimentation.
Therefore my approach is to capture the «sensitive» dimension of certain «power-imposing» mechanisms (to discipline and to control is to learn to make certain things felt), to
produce new aesthetic effects and to reveal the acceptance of otherness in others. Inother words, I stitch and unfasten standards and norms to obtain an unprecedented type
of presence where identity takes root and creates a portrait, and where gestures and postures are events and language. This means a «pensive» practice of art, to use one of
Roland Barthes’ favourite terms, not a heroic gesture, and not as a sort of accusation, but rather as a skirmish of the mind based on a sort of poësis.
My work involves a lot of photography and my output includes documentary and fictional sets and videos. There is often a theoretical influence behind an idea.

The formal aspect of my work tends to be nurtured by the world of farming in which I grew up as a child, its machinery, barns full of hay, battery chickens and the open field system.

«Revealers»

These are objects created for the «photographic mechanism». They shape the construction of the image. The objects or things, or «photographic objects», nurture thought about the
restrictions they impose on people in photographs. That being said, the photographic process consists of producing a set of pictures; the object moves and «contaminates» different
places. The movement orchestrates scenarios from one photo to another hence the fictional aspect. The objects then find their independence in the «being on show» mechanism and
gain the status of image revealers.

Démocratic bench, paint and articuled wood work, 220X40X75 cm 2008	The one that point out, paint and articuled wood work, 175X55X75 cm 2008