2019/ Douglas and painting/ 4 pièces de 2m x 80cm
Like the wood ludo games from our childhood, we find giants pieces placed in a scenery similar to Lewis Caroll book atmosphere: Alice in Wonderland.
Using chainsaw, pawns are sculpted, cut, and formed in the wood. They can be used by giant, the racecourse become then, the game board!
Rachel Da Costa et Marine Fernandez
2018 / earthenware, white and red earth
Fomes Fomentarius is an opened door to the imaginary.
In the nature, fomes fomentarius are widespread inedible mushrooms. Considered as dangerous parasite, it does not have feet and it is directly fixed on the trunk, exhausted, trees will finally die. It has a dark colored, it perfectly blends with the invaded substratum.
Here, the mushrooms sculptures are made from bright colors, making them phantasmagoric objects, troubling illusion surrounded by nature.
Romane Jeusset, Mathilde Lacroix, Laurianne Roullier
2017 / acrylic paint ral 5002 (bleu outremer) / 85x400x1 700 cm
A blue tree (arbre bleu in French) stand across the pathway. Its roots are oriented toward the Montezy area, which is said to be a place where dead people were buried. At the opposite side, its branches toward a fen zone, ideal living area. Split between the two worlds, wearing an oneiric color, the famous Klein blue, the tree become a fully-fledged sculpture structuring the landscape, of which the origin of the color is to be discovered on site, surrounded by the myth.
Adèle Bertrand, Typhaine Le Grelle
2018 / fir tree / 1000 m²
In the mother country of the “Cadre Noir” (literally black frame in French but it is also the name of a famous corps of equerries, or instructors, at the French military riding academy École Nationale d’Équitation in Saumur), five white frame are questioning the equilibrium notion of rectitude et and regularity in the practice of horse-riding as well as in the contemporary art world. Each at a distance of 20 meters (precisely corresponding to the distance of five stride of a galloping horse), it intersperses a side road, revealing its perspective.
Héloïse Benancie, Bérengère Goux, Jeanne Tucoulet
2019/ scuff bands 100 m²
Courant d’air (draught in English) is a giant wind harp created with scuff bands. The bands are wounded around a chosen group of trees, creating an immersive and multisensory space. The spectator will have the choice to walk inside this space that offers different points of views of the landscape.
To identify the wild plants and to track them in a place controlled by Humans. Helping to see what we don’t see, to change our regards in what we call “weedy areas”.
My work is to mark self-propagating plants (adventice in French) present in the racecourse, to make people to look more carefully at it, and to see the area in a different perspective.
2019/ wood, metal/ 6m x 1,8 m
Inspired by chronophotographs of Marey, I’m interested at the deconstruction of horse movements in a static way. These studies enable me to understand the functioning of horse’s locomotion.
Here, the horse is not an image in two dimensions but become an unique volume in three dimensions contrasting with the ultra-dynamic environment of horse races.
Movements, invisible by naked eyes, are superposed and became static. It contrasts with the energy deployed all around by the real horses.
LE BANQUET NOCTURNE
2018/ stones, painting / 2,15ml x 2,50mL
Originally from south of China, Shuchen Liu is influenced by a culture that have invented a mystical and superstitious universe around wild area as hills, forests and mountains.
Folktales, transmitted from one generation to another, are about humans, immortals and also phantoms and spirits. Those stories are an oral trace of the Chinese traditions.
The nocturnal banquet (Banquet Nocturne in French) is a project to transmit to visitors, by making them visible, the power and spirit of nature. The atmosphere released is ceremonial in a sanctified place.
LOST 151 C
Louise Asseray, Florence Hamon et Atlele Soltani
2018/ Plywood, painting/ 2,15ml x 2,50mL
The work presented here is a true signage element: confirmation of horse and carriage itinerary. Its insertion in the landscape (a cul-de-sac blocked by vegetation) produced a misinterpretation as any carriage can follow this direction.
Moreover, moving and extending the sign in the space permits the model to become concrete. The symbol became a sculpture. From then, the perception that we have about the marker is transformed, it becomes an abstracted figure, as a flying logo.
SAUTER DU REGARD
2019/ wood, steel et various materials/ 20 fences of approximately 4m, at 4m of the ground
Imagine a course unattainable taking place at the same time of Saumur International Equestrian Competition of Saumur. The installation goal is to develop another image of horses in the spectator’s mind. The use of show jumping show fences permits to easily recognize a show jumping course at another scale. This aerial course crosses a part of the forest from one point to another along a visitor’s path.
THE SIZE OF THE CONTAINER
2019/ wood, steel et various materials/ Varying dimensions
This installation gathers different elements that are playing with principles of Ikebana (Japanese floral composition traditional art) through contrasts between manufactured linearity and natural traits. Through strict rules and strong symbolism, Ikebana evoke, in reduced places (as vases and alcove) similar notions with architecture and In Situ.
Through horizontal and vertical plans, space become understandable, relative to a scale between minuscule and monumental. Composed as a whole, a back and forth is created between different element of the area, involving reading concepts as bookcase and archiving, set up through the collection of surrounding objects.
Amélie Loyzeau de Grandmaison et Estelle Ménard
2018 / wood, painting / varying dimensions
In Verrie racecourse, we can find a dozen of dolmens and menhirs. Far away from the druidic culture, it was pastiche created more than twenty years ago, to “decorate” the place. Translater is further step in this direction, revealing the false dimension of the overall. Translater is a copy paste of four shapes simplified as much as possible, clearly accepting their position of imitation of imitation.