Fond et sa sculpture dissimulée
Salton Sea is located one hundred and fifty miles outside of Los Angeles, in the Colorado Desert. A faded wooden sign reads Salton Sea Marina Beach. The street leads us to a stretch of water. Infinite. As we approach the color transforms, the water looks viscous, it takes on the appearance of an oil slick. The thick sand is very white. The landscape decomposes. Sand. Thousands of crushed fish carcasses. Sand. They are imprisoned in a layer of salt, fossilized. There was a disaster here. Everything was swallowed, a salt-lunar landscape. The trees are on the ground and the houses are empty.
We see transparent fragments, purpled, and stains. A ship cleans out its oil tanks. Three planes intersect against the white of the plaster. A perfect curve and she imitates it, she searches for her place, crosses, rotates around the elements. The slowness of a dream, extreme vigilance, she pauses in order to complete a gesture. The white plays with the light’s reflection. The white is the sand. Later, the white takes the same pink tint as the walls.
She returns to her movement and slowly, almost imperceptibly, she recognizes what belongs to her, arches, spreads her legs and disappears behind the background. She is superposed – lascivious camouflage – they look at her, they look only at her. The spectators. The final motif completes the theme’s spiral. Redundant heroine without whom the background cannot function, she reactivates the desolate landscape and renders the story’s projection possible.
Installation composed of one sculpture, a gradation of color and a performance.
Performance: Anna Gaïotti
Curated: Georgia René-Worms, Cité scolaire François Villon, Paris, France
Pictures: Paul Nicoué