VIVIAN VAN BLERK


    FR/

    Artiste Sud-Africain (1971) vivant à Paris et photographe de formation, j’ai, au début de mes recherches, construit de nombreuses maquettes de grandes dimensions, avec différents médiums que je photographiais ensuite. Plus récemment, la pratique de la céramique m’a permis de faire de mes maquettes des œuvres à part entière et non plus un support de travail photographique. Cette matière, si concrète, si noble et si fragile n’a pas d’égal pour exprimer la beauté précaire de notre existence.


    J’aborde le thème du « Memento Mori » avec une série de crânes humains s’inscrivant dans la tradition des vanités et des natures mortes. Chaque pièce devenant le support d’un univers unique, montré ou secrètement caché à l’intérieur des cranes, représentation du monde imaginaire particulier de chacun.


    Mes derniers travaux sont des installations de grand format qui traduisent mon interrogation sur notre rapport au monde et à la nature, à ce moment de l’histoire de l’humanité où notre activité menace notre environnement. Elles nous confrontent à un monde post-humain, encore hanté par les ruines architecturales de villes abandonnées, ultimes évocations de l’histoire de nos civilisations, encore encombré des déchets polluants de nos sociétés de consommation dévorante, mais où la nature animale comme végétale reprend ses droits.


    Une sorte de résurrection naturaliste apaisée mais aussi un avertissement inquiet sur l’avenir de notre société.


    Vivian Van Blerk

     

     

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    ENG/

    A South African artist (1971) living in Paris and a photographer by training, I began my research by building many large scale models, using different mediums, which I then photographed. More recently, the practice of ceramics has allowed me to make my models into full-fledged works and no longer a photographic medium. This material, so concrete, so noble and so fragile, has no equal to express the precarious beauty of our existence.

    I approach the theme of the "Memento Mori" with a series of human skulls in the tradition of vanities and still lifes. Each piece becomes the support of a unique universe, shown or secretly hidden inside the skulls, representing the particular imaginary world of each one.

    My latest works are large-format installations that translate my questioning about our relationship to the world and to nature, at this time in the history of humanity when our activity threatens our environment. They confront us with a post-human world, still haunted by the architectural ruins of abandoned cities, the ultimate evocation of the history of our civilizations, still cluttered with the polluting waste of our devouring consumer societies, but where animal and plant nature is taking back its rights.

    A kind of appeased naturalist resurrection but also a worried warning about the future of our society.
    Vivian Van Blerk
    Translated with www.DeepL.com/Translator (free version)

     

    A South African artist (1971) living in Paris and a photographer by training, I began my research by building many large scale models, using different mediums, which I then photographed. More recently, the practice of ceramics has allowed me to make my models into full-fledged works and no longer a photographic medium. This material, so concrete, so noble and so fragile, has no equal to express the precarious beauty of our existence.


    I approach the theme of the "Memento Mori" with a series of human skulls in the tradition of vanities and still-lifes. Each piece becomes the support of a unique universe, shown or secretly hidden inside the skulls, representing the particular imaginary world of each one.


    My latest works are large-format installations that translate my questioning about our relationship to the world and to nature, at this time in the history of humanity when our activity threatens our environment. They confront us with a post-human world, still haunted by the architectural ruins of abandoned cities, the ultimate evocation of the history of our civilizations, still cluttered with the polluting waste of our devouring consumer societies, but where animals and plants are taking back their rights.


    A kind of appeased naturalist resurrection but also a worried warning about the future of our society.


     

    Vivian Van Blerk