Artist Statement




I am deeply interested in Architecture, which is at the core of conceptual and physical aspects of my practice. Interestingly, modernist constructions from the twentieth century were intended to create social links for communities, but they also attest a rush towards urban planning. The ever-increasing nature of our cities is one of my main thematics. I aim to conceptualise from a zoomed-out perspective the immensity of our constructions compared to our own human scale. This comes from both a fascination and a fear of large-scale solid constructions, which once built remain anchored in space and time, and therefore in our lifestyle. The work can be seen as a warning, a "mise en garde", towards the dangers - environmental and psychological - of our species’ expansion and social organisation, and its impact on our ecosystem.

Throughout my work, I expect the tension between utopian and dystopian shapes and dimensions to be at the core of my exploration - a certain counterpoint between a melodic aspect on one side and a growth of inhospitable forms on the other. I believe that constructions express a physical manifestation of our personal and collective aspirations. The modular cities and architectural webs in my work are, to me, geometric potteries which find themselves in a static and dynamic balance. They are landscapes in which the structures themselves can be made similar to organic beings - cities that are dense and complex like the ones we live in today, but that feel more organic and miniaturistic.



I intend to deconstruct the urban landscape language. In my view, etching is a technique that we should understand within the discipline of sculpture, as it is a microscopical sculptural work which reveals the depth of surfaces. I discovered a method of producing interesting textural effects through etching into the paint. After coating the surface with several layers of acrylic paint, I apply oil paint on which I carve the spaces and reveal the depth of surfaces with a metal point. For this reason, I am mostly working with carveable surfaces such as wooden panels. I am also working on digital mediums which enable me to build virtual construction and animations from my artworks.

I intentionally imposed a systematic dimension on the constructions, with hard edges and several vanishing points. The landscapes are filled with straight lines and are intended to be rhythmic. Through this and the duplication of modules, I try to create the effect that the structures are able to evolve and adapt to the environment, almost as if they were alive and animated. In my view, the use of vibrant colours emphasises the living impression of the structures. The miniature world encompasses the sense of empowerment that I achieve through my practice. Two-dimensional works allow me to explore a more conceptual architecture, which is not limited by physical laws.




Anouchka Gerard