https://armelletulunda.com Armelle Tulunda Thu, 27 Jun 2024 08:53:27 +0000 https://armelletulunda.com en https://armelletulunda.com/Splash-Page Mon, 17 Jun 2024 14:03:50 +0000 Armelle Tulunda https://armelletulunda.com/Splash-Page “In the name of daybreak and the eyelids of morning and the wayfaring moon and the night when it departs, I swear I will not dishonor my soul with hatred but offer myself humbly as a guardian of nature, as a healer of misery, as a messenger of wonder as an architect of peace.In the name of the sun and its minorsand the day that embraces itand the cloud veils drawn over itand the uttermost nightand the male and the femaleand the plants bursting with seedand the crowning seasons of the fireflyand the apple, I will honor all life —wherever and in whatever formit may dwell—on Earth my home,and in the mansions of the stars.” - Diane Ackerman https://armelletulunda.com/Info Mon, 17 Jun 2024 14:03:51 +0000 Armelle Tulunda https://armelletulunda.com/Info I recited the poem above to myself a few days before the year 2020 ended, as I registered myself as a professional artist. As far as I can remember, I’ve always been fascinated by the infinity of the sky and the abysses. My work as an artist and educator stems from the ‘in-between’ of my ways of relating to myself and other forms of life : spirituality and science. Born from two immigrant parents from D.R Congo, I’ve been raised between my father’s desire to feed my natural curiosity by making me read books about geography, astronomy, geology or even medecine... and my mother’s desire to pass down to me her animist heritage by inviting me to see trees, wind, the ocean and other life forms has inhabited by a spirit equal as mine. &nbsp;As a child, I’ve been learning the name of clouds and flowers, wondering why I could stargaze with my mother in the coutryside and not from my window in the south outskirts of Paris or looking for something - not yet known at the time - in an astrophysics laboratory during a short internship as a teenager. Now as an artist, I explore the idea that science is not the way, but a way of relating to the world among others that have been historically silenced. In a time that challenges our ways of existing on Earth, I ask myself the same question that artist Orfeo Tagiuri in one of his little passing thoughts : “If science is our current model, how has it shaped the way we interact with the world ?” <img width="3423" height="2488" width_o="3423" height_o="2488" data-src="https://freight.cargo.site/t/original/i/61d90f343efd4694f873ac4111c68d754f83cb497f56f356c63331ae24c25aeb/IMG_0071.jpg" data-mid="245670757" border="0" src="https://freight.cargo.site/w/1000/i/61d90f343efd4694f873ac4111c68d754f83cb497f56f356c63331ae24c25aeb/IMG_0071.jpg" /> ︎ ongoing drawing series inspired by Congolese cosmogonies Na kobosona te (I won’t forget), 2026, pastel on paper, 70 x 100 cm / studio view. <img width="2100" height="2822" width_o="2100" height_o="2822" data-src="https://freight.cargo.site/t/original/i/a618a5bdf297084112b13b8ef069275979cbc3a2af58dc43fc6af188026bd7c2/tulundaarmelle_1.jpg" data-mid="245670758" border="0" src="https://freight.cargo.site/w/1000/i/a618a5bdf297084112b13b8ef069275979cbc3a2af58dc43fc6af188026bd7c2/tulundaarmelle_1.jpg" /> <img width="2084" height="2806" width_o="2084" height_o="2806" data-src="https://freight.cargo.site/t/original/i/6f57524dbf5253cb88a7fe58049a8f4ec85105aa0d4f9c83282f99b364ffefea/tulundaarmelle_2.jpg" data-mid="245670759" border="0" src="https://freight.cargo.site/w/1000/i/6f57524dbf5253cb88a7fe58049a8f4ec85105aa0d4f9c83282f99b364ffefea/tulundaarmelle_2.jpg" /> <img width="2100" height="2835" width_o="2100" height_o="2835" data-src="https://freight.cargo.site/t/original/i/d11188286be6ba071051f42a4528ffd17a5653efb7ba2c80465bf567a6b318a0/4.jpg" data-mid="245670760" border="0" src="https://freight.cargo.site/w/1000/i/d11188286be6ba071051f42a4528ffd17a5653efb7ba2c80465bf567a6b318a0/4.jpg" /> <img width="2084" height="2806" width_o="2084" height_o="2806" data-src="https://freight.cargo.site/t/original/i/f0e132bae99b4f55548c46d34a86f541abe2e4713cd673aef9f05bd9f4ddf63e/5.jpg" data-mid="245670761" border="0" src="https://freight.cargo.site/w/1000/i/f0e132bae99b4f55548c46d34a86f541abe2e4713cd673aef9f05bd9f4ddf63e/5.jpg" /> ︎ serenade of water, 2024, unique cyanotypes on paper, 18 x 24 cm each.&nbsp; <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/158ff682f742d081d75f15d31aba6841f517e00685033f62d77b29d841ce2b15/Perspective_armelletulunda.jpeg" data-mid="245670785" border="0" src="https://freight.cargo.site/w/1000/i/158ff682f742d081d75f15d31aba6841f517e00685033f62d77b29d841ce2b15/Perspective_armelletulunda.jpeg" />︎ perspectives (NGC 5139), 2019 ︎︎︎, punctured paper, glass, metal, LED lights, 40 x 50 cm. <img width="3559" height="5338" width_o="3559" height_o="5338" data-src="https://freight.cargo.site/t/original/i/80602408ded96fe0c22cc277a64b54615f39023e88909300dcdf785cac12a5fb/Axt1C_HangarY_Saywho_Thomas_Smith-6994.jpg" data-mid="245670811" border="0" data-scale="87" src="https://freight.cargo.site/w/1000/i/80602408ded96fe0c22cc277a64b54615f39023e88909300dcdf785cac12a5fb/Axt1C_HangarY_Saywho_Thomas_Smith-6994.jpg" /> <img width="1521" height="2400" width_o="1521" height_o="2400" data-src="https://freight.cargo.site/t/original/i/447b54604d516d03cb3db63d4cf3d1f56eaa7fba31cea8b5ead6a3f73d7c8ffd/IMG_7725.jpg" data-mid="245670802" border="0" src="https://freight.cargo.site/w/1000/i/447b54604d516d03cb3db63d4cf3d1f56eaa7fba31cea8b5ead6a3f73d7c8ffd/IMG_7725.jpg" /> ︎ explorer, 2022, recycled glass, roughened dichroic filter, steel. Approx. 175 x 90 cm.In collaboration with Tanguy Roussel, in the framework of the residency at Hangar Ywith Art Explora &amp; Artagon. <img width="1890" height="1433" width_o="1890" height_o="1433" data-src="https://freight.cargo.site/t/original/i/ac379049340752b8d89936f3483538a3f38e7b546557af51a60d55c3c9458e9f/272842816_5406275392754890_366249920464629473_n.jpg" data-mid="245670813" border="0" src="https://freight.cargo.site/w/1000/i/ac379049340752b8d89936f3483538a3f38e7b546557af51a60d55c3c9458e9f/272842816_5406275392754890_366249920464629473_n.jpg" />︎ intervalles, solo show produced by CAC - la synagogue de Delme, 2021. <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/06f935ade44ab9bf10025970385256547604aa4983c9a975aba53b344abbad1b/Chimigramme3_armelletulunda_2.jpg" data-mid="245670818" border="0" src="https://freight.cargo.site/w/1000/i/06f935ade44ab9bf10025970385256547604aa4983c9a975aba53b344abbad1b/Chimigramme3_armelletulunda_2.jpg" /> <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/79d576a820728fcea7cd2ea3c7f37f8483daf8ac559d58a0e58b47883b373137/Chimigramme2_armelletulunda_2.jpg" data-mid="245670819" border="0" src="https://freight.cargo.site/w/1000/i/79d576a820728fcea7cd2ea3c7f37f8483daf8ac559d58a0e58b47883b373137/Chimigramme2_armelletulunda_2.jpg" /> ︎ óneiros, 2020, chemigrams / fine art prints, 24 x 36 cm. https://armelletulunda.com/explorer-1 Mon, 17 Jun 2024 14:03:54 +0000 Armelle Tulunda https://armelletulunda.com/explorer-1 ︎ explorer 2022 Verre recyclé, filtre dichroique dépoli, acier.Environ 175 x 90 cm. En collaboration avec Tanguy Roussel, dans le cadre d’une résidence à l’Hangar Y avec Art Explora &amp; Artagon. Recycled glass, roughened dichroic filter, steel.Approx. 175 x 90 cm. In collaboration with Tanguy Roussel, in the framework of the residency at Hangar Y with Art Explora &amp; Artagon.︎ TLMALP - Salvador Banyo, Karo Kuchar, Tanguy Roussel, Lewis Joly. —<img width="1267" height="1677" width_o="1267" height_o="1677" data-src="https://freight.cargo.site/t/original/i/da797bd2327ee48f84f33a6b845caa0258a6e06b2c7e0ea1e5b2f23ab9e980c6/explorer_armelletulunda_croquis.jpg" data-mid="226389570" border="0" src="https://freight.cargo.site/w/1000/i/da797bd2327ee48f84f33a6b845caa0258a6e06b2c7e0ea1e5b2f23ab9e980c6/explorer_armelletulunda_croquis.jpg" /><img width="5108" height="3831" width_o="5108" height_o="3831" data-src="https://freight.cargo.site/t/original/i/df8924b425bf8f47ad1783dfacfae9f6f42a647df8e89d530aed61dc3e87e775/634e76f52a2c11525e04f543_LewisJOLY-ArtExplora_HangarY.038-1.JPG" data-mid="213062696" border="0" src="https://freight.cargo.site/w/1000/i/df8924b425bf8f47ad1783dfacfae9f6f42a647df8e89d530aed61dc3e87e775/634e76f52a2c11525e04f543_LewisJOLY-ArtExplora_HangarY.038-1.JPG" /> <img width="2160" height="1262" width_o="2160" height_o="1262" data-src="https://freight.cargo.site/t/original/i/3b026713baee69c8df5a5fe10895089791ddb26954c9d2d4e8ed12e749e3bd55/Miroir-Armelle-3.png" data-mid="218789660" border="0" src="https://freight.cargo.site/w/1000/i/3b026713baee69c8df5a5fe10895089791ddb26954c9d2d4e8ed12e749e3bd55/Miroir-Armelle-3.png" /> “We don’t need new worlds. We need mirrors.” -&nbsp;Solaris, Stanislaw Lem Lors d’une résidence à l’Hangar Y - le premier hangar à dirigeables au monde - à Meudon (FR) sur le thème de l’exploration, j’ai été intriguée par l’usage du miroir dans le domaine spatial suite à des visites à l’Observatoire de Paris. Ces miroirs contenus dans des télescopes, immenses, étaient tous tournés vers le ciel à l’image de mes propres yeux qui avaient cherché depuis l’enfance quelque chose dans le ciel nocturne que je ne pouvais toujours pas nommer. Pourtant, le thème de l’exploration me poussait toujours à détourner les yeux pour revenir sur Terre : il m’était impossible de séparer ma fascination pour le ciel et ma présence sur cette planète. L’un n’existait pas sans l’autre. Mais qu’avait-il de si important dans le ciel qui valait la peine de faire exploser des satellites dans l’atmosphère, ou encore de les envoyer se noyer dans les profondeurs des océans ? En faisant des recherches sur l’usage du miroir dans le domaine spatial, j’ai été intriguée par le miroir dichroïque, qui avait été utilisé dans les années 50-60 par la NASA comme mécanisme de protection contre les rayonnements de la lumière solaire non filtrée. J’ai tenté de reproduire l’effet du verre dichroïque à l’aide d’un filtre : séparant les couleurs sans les absorber, les couleurs présentes sur le miroir varient selon la lumière ambiante (naturelle ou artificielle) et l’angle d’observation. Ici, le miroir ne cherche pas à aller au-delà de nos capacités visuelles. Il réfléchit les expériences à la fois uniques et multiples qui constituent le fait d’être un être humain sur Terre. Explorer se détourne de discours parfois présentés comme universels et nous invite à remettre en question les manières dont voir et savoir semblent se confondre à une ère où la diffusions d’images est sans précédent. During a residency at Hangar Y in Meudon (FR) - the world's first airship hangar - on the theme of exploration, I was intrigued by the use of mirrors in the space field following visits to the Paris Observatory. These mirrors contained in telescopes, huge, were all turned towards the sky in the image of my own eyes which had been looking since childhood for something in the night sky that I still could not name. Yet, the theme of exploration always pushed me to look away and return to Earth : it was impossible for me to separate my fascination for the sky from my presence in this planet. One did not exist without the other. What was so important about the sky that it was worth blowing satellites into the atmosphere, or sending them to drown in the depths of the ocean in the name of exploration ? While researching the use of mirrors in the space field, I was intrigued by the dichroic mirror, which had been used in the 50s and 60s by NASA as a mechanism to protect against the radiation of unfiltered sunlight. I tried to reproduce the effect of dichroic glass by using a filter : separating the colors without absorbing them, the colors present on the mirror vary according to the ambient light (natural or artificial) and the angle of observation. Here, the mirror does not seek to go beyond our visual capacities. It reflects on the unique and multiple experiences that make up being a human being on Earth. Explorer turns away from discourses sometimes presented as universal and invites us to question the ways in which seeing and knowing seem to merge in an era where the dissemination of images is unprecedented. <img width="1521" height="2400" width_o="1521" height_o="2400" data-src="https://freight.cargo.site/t/original/i/447b54604d516d03cb3db63d4cf3d1f56eaa7fba31cea8b5ead6a3f73d7c8ffd/IMG_7725.jpg" data-mid="213062649" border="0" data-scale="91" src="https://freight.cargo.site/w/1000/i/447b54604d516d03cb3db63d4cf3d1f56eaa7fba31cea8b5ead6a3f73d7c8ffd/IMG_7725.jpg" /> <img width="3559" height="5338" width_o="3559" height_o="5338" data-src="https://freight.cargo.site/t/original/i/80602408ded96fe0c22cc277a64b54615f39023e88909300dcdf785cac12a5fb/Axt1C_HangarY_Saywho_Thomas_Smith-6994.jpg" data-mid="213062648" border="0" src="https://freight.cargo.site/w/1000/i/80602408ded96fe0c22cc277a64b54615f39023e88909300dcdf785cac12a5fb/Axt1C_HangarY_Saywho_Thomas_Smith-6994.jpg" /> <img width="1374" height="1832" width_o="1374" height_o="1832" data-src="https://freight.cargo.site/t/original/i/8b58e7f7a390a032a76ec385a140ba96dfd94037fcda80072dd98f406c9cdeac/image000000.JPG" data-mid="226392451" border="0" src="https://freight.cargo.site/w/1000/i/8b58e7f7a390a032a76ec385a140ba96dfd94037fcda80072dd98f406c9cdeac/image000000.JPG" /> <img width="1374" height="1832" width_o="1374" height_o="1832" data-src="https://freight.cargo.site/t/original/i/f4b35a446d975c3e35ac43a7c1df724d4ff311335b151b6cb5a35b87f2684568/image000001.JPG" data-mid="213068469" border="0" data-scale="81" src="https://freight.cargo.site/w/1000/i/f4b35a446d975c3e35ac43a7c1df724d4ff311335b151b6cb5a35b87f2684568/image000001.JPG" /> https://armelletulunda.com/intervalles Mon, 17 Jun 2024 14:03:53 +0000 Armelle Tulunda https://armelletulunda.com/intervalles ︎ intervalles exposition personnelle à la Gue(ho)st House du CAC - la synagogue de Delme de Jan. à Fev. 2022 ︎ Benoît Lamy de la Chapelle ︎ CAC - la synagogue de Delme— <img width="1890" height="1433" width_o="1890" height_o="1433" data-src="https://freight.cargo.site/t/original/i/ac379049340752b8d89936f3483538a3f38e7b546557af51a60d55c3c9458e9f/272842816_5406275392754890_366249920464629473_n.jpg" data-mid="225576245" border="0" src="https://freight.cargo.site/w/1000/i/ac379049340752b8d89936f3483538a3f38e7b546557af51a60d55c3c9458e9f/272842816_5406275392754890_366249920464629473_n.jpg" /> <img width="2048" height="1463" width_o="2048" height_o="1463" data-src="https://freight.cargo.site/t/original/i/b2122426f43ecf4f4193375cf8b9885f6fe328f49fd5429d6cc93625df6e2d0d/273031696_5406275339421562_1151133168931630303_n.jpg" data-mid="213069401" border="0" src="https://freight.cargo.site/w/1000/i/b2122426f43ecf4f4193375cf8b9885f6fe328f49fd5429d6cc93625df6e2d0d/273031696_5406275339421562_1151133168931630303_n.jpg" /> <img width="2048" height="1463" width_o="2048" height_o="1463" data-src="https://freight.cargo.site/t/original/i/c125936a8698ec79246981a8ba856f2ed2c842be4044e950411412e2eae6b4dd/272954347_5406273369421759_8924577065582224162_n.jpg" data-mid="213069400" border="0" src="https://freight.cargo.site/w/1000/i/c125936a8698ec79246981a8ba856f2ed2c842be4044e950411412e2eae6b4dd/272954347_5406273369421759_8924577065582224162_n.jpg" /> Chapitre I :&nbsp; la nuit Audiences2021 Pièce sonore, 15 minutes Cette pièce sonore témoigne de l'immersion de l'artiste dans les environnements nocturnes à proximité des différents lieux qu'elle habite. À partir du crépuscule jusqu'au milieu de la nuit, tous les sons se veulent représentatifs d'une nuit pleine de vies, qu'elles soient animales ou urbaines. Une invitation à célébrer le fait que la nuit est pour beaucoup, un lieu d'habitation tel que le jour. Diffusée sur la vitrine de la Gue(ho)st House, cette série d’enregistrements de nuits prises dans des environnements bien différents de Delme se confondent pourtant avec les sons de l’environnement du CAC- la synagogue de Delme. Les nuits urbaines animées de Nancy, avec celles, bien plus calmes des parcs de Sainte-Geneviève-des-Bois - où a grandi l’artiste se rejoignent et proposent une ode à tout ce que la nuit est possible d’offrir, mais aussi une re-découverte sonore pour l’artiste des endroits qu’elle a l’habitude d’écouter de jour. Chapitre II : le ciel vu de la Terre Observatoires2021 Trois impressions fine art sur papier Hanemüelhe contrecollées sur dibond. 50 x 70 cm chacune.Risographie sur papier, ed.100. 29,7 x 42 cm. Produit par le CAC - la synagogue de Delme Three fine art prints on Hanemüelhe paper mounted on dibond. 50 x 70 cm each. Risography on paper, ed.100. 29,7 x 42 cm. Produced by CAC - la synagogue de Delme <img width="2160" height="2700" width_o="2160" height_o="2700" data-src="https://freight.cargo.site/t/original/i/71c07714b678ee4c62cdb7827d18fa5ce967c9efd9bd0c080e8b7330770ef974/1ECE306C-6058-4C6A-89F0-0CECCD911FE5.jpg" data-mid="213071133" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/71c07714b678ee4c62cdb7827d18fa5ce967c9efd9bd0c080e8b7330770ef974/1ECE306C-6058-4C6A-89F0-0CECCD911FE5.jpg" /> <img width="2538" height="1801" width_o="2538" height_o="1801" data-src="https://freight.cargo.site/t/original/i/21c40e1cdf537f2ecee41ac89bef899d66a6423d0c208732f86968d60b3dc8a9/Observatoires-II.jpg" data-mid="213071135" border="0" src="https://freight.cargo.site/w/1000/i/21c40e1cdf537f2ecee41ac89bef899d66a6423d0c208732f86968d60b3dc8a9/Observatoires-II.jpg" /> Observatoires fait référence à une expérience ayant marqué l’artiste pendant son enfance : celle de parcourir des cartes de la voute céleste, mais de ne “rien voir” de la fenêtre de sa chambre située en banlieue parisienne. Grâce à un logiciel permettant de dessiner des cartes du ciel d’après les données de 16 catalogues d’étoiles est créée une série de cartes qui remet en question la “véracité” des outils géographiques, telle que la carte : où se situe la vérité ? Dans une carte présentant des étoiles, mais ne prenant pas en compte la pollution lumineuse de l’observateur ? Ou dans une carte créee par un individu, qui se base sur des données, mais aussi sur sa propre perception du ciel ? Ses cartes, se situant à travers le temps et l’espace (entre l’enfance et l’âge adulte, entre la République Démocratique du Congo et la France) de sa vie personnelle rend compte d’un rapport au ciel nocturne qui au 21ème siècle est empreint de problématiques liée à la luminosité artificielle des environnements nocturnes qui sont technologiques, sanitaires et écologiques. Chapitre III : la Terre vue du ciel Sur la terre comme au ciel2021 Trois tirages argentiques lambda. 146,7 x 110 cm. Produit par le CAC - la synagogue de Delme Three lambda silver prints. 146,7 x 110 cm. Produced by CAC - la synagogue de Delme <img width="3508" height="4961" width_o="3508" height_o="4961" data-src="https://freight.cargo.site/t/original/i/410d45612b093e050427cbfcb08cbc60dc0dd877a49b3bcd7d7155595b1f18c8/Surlaterrecommeauciel_armelletulunda.jpg" data-mid="213071325" border="0" src="https://freight.cargo.site/w/1000/i/410d45612b093e050427cbfcb08cbc60dc0dd877a49b3bcd7d7155595b1f18c8/Surlaterrecommeauciel_armelletulunda.jpg" /> <img width="1250" height="2041" width_o="1250" height_o="2041" data-src="https://freight.cargo.site/t/original/i/12bd8af90f965541951fdd6943861f7993571ae15fecd80aa9af9b2d571512e6/Surlaterrecommeauciel_armelletulunda.jpg" data-mid="213071130" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/12bd8af90f965541951fdd6943861f7993571ae15fecd80aa9af9b2d571512e6/Surlaterrecommeauciel_armelletulunda.jpg" /> <img width="3425" height="4567" width_o="3425" height_o="4567" data-src="https://freight.cargo.site/t/original/i/630bc49a067da08a2bc275fc4f2d01ea0ef8bffc769432a3cd90e2387c58c38b/Surlaterrecommeauciel1-internet.jpg" data-mid="213071315" border="0" src="https://freight.cargo.site/w/1000/i/630bc49a067da08a2bc275fc4f2d01ea0ef8bffc769432a3cd90e2387c58c38b/Surlaterrecommeauciel1-internet.jpg" /> <img width="3425" height="4567" width_o="3425" height_o="4567" data-src="https://freight.cargo.site/t/original/i/8e85070783491ec457cc49f721e44d2879184ca620428ce628762e11e1546a0b/Surlaterrecommeauciel3-internet.jpg" data-mid="213071318" border="0" src="https://freight.cargo.site/w/1000/i/8e85070783491ec457cc49f721e44d2879184ca620428ce628762e11e1546a0b/Surlaterrecommeauciel3-internet.jpg" /> La lumière artificielle a envahit les nuits, créant des crises sanitaires et écologiques, perturbant nos rythmes circadiens et des écosystèmes : parmi tant d’autres, les oiseaux migrant ou chassant grâce à la lumière de la Lune ou des étoiles se retrouvent perdus au milieu des éclairages. S’intéressant à cette notion de perte de repères, l’artiste a crée des photomontages réalisés à partir des vues du ciel prises par le satellite météorologique états-uniens NOAA ayant servi à la création du Nouvel atlas de la luminosité artificielle du ciel nocturne (2016). Les images des continents es plus touchés, l’Europe, l’Amérique du nord et l’Asie sont ici réassemblées pour créer une version de ces continents qui ne se basent plus sur le territoire géologique, mais sur les motifs que la pollution lumineuse crée. Bouleversant ainsi des représentations des continents vus de l’espace qui ont été historiquement mises en lien avec des organisations nées de prises de conscience écologiques (tels que l’Association internationale Dark Sky constituée au États-Unis en 1988), l’artiste nous invite à remettre en question l’évidence de l’interprétation des images spatiales. Armelle Tulunda réalise des œuvres dans le champ de la photographie et de l’image au sens large, par production directe mais aussi par appropriation d’images extraites d’ouvrages ou de sites internet de vulgarisation scientifique. Elle s’intéresse plus particulièrement à la construction de ces images, non seulement d’un point de vue scientifique, mais aussi politique, sociologique et historique. En pointant leurs modes de fabrication, elle souligne la manière dont ces images révèlent un état de l’univers ne relevant pas strictement d’une vérité indiscutable. Autodidacte en science et appréhendant cette discipline avec un regard assumé d’artiste, Armelle Tulunda s’inspire d’abord de la beauté de ces images, de leur qualité poétique, tout en prenant conscience de la facticité de leur apparence : telles celles transmises depuis le début des années 90 par le télescope spatial Hubble1 qui, n’étant pas assez précises à l’état brut, doivent être colorées, retouchées, afin de devenir plus lisibles scientifiquement, et accessibles au grand public. L’artiste trouve dans ces méthodes ignorées, un espace de liberté à partir duquel faire dériver ses propres images du cosmos, entre rêveries infinies, abstraction poétique et, en filigrane, une réalité de production des images procédant d’enjeux politiques et économiques souvent éloignés de la recherche scientifique pure. Apparait alors un « réalisme » scientifique d’une grande subjectivité ayant des conséquences notables sur l’imaginaire cosmique collectif, tournant ainsi une image optimisée pour la recherche en documentation authentique. Armelle Tulunda se plaît à ancrer ses œuvres dans une situation paradoxale, celle confrontant une imagerie d’une grande précision, fournie par des outils à la technologie toujours plus puissante - dont elle s’approprie les codes -, et la production d’images à l‘atelier, artisanale, puisque recourant à des techniques photographiques ne nécessitant pas d’appareillage sophistiqué, tel que le photomontage ou encore la photographie analogique avec le chimigramme. Ces diverses manipulations permettent à l’artiste d’interroger le médium photographique, son histoire, ainsi que sa fragilité à représenter le réel au-delà de sa surface, souvent considérée par la majorité comme vérité irréfutable. Elle s’intéresse ainsi à la manière dont chacun perçoit les phénomènes non-accessibles directement aux communs des mortels, et comment ces derniers lient leur subjectivité à l’inconnu, en amalgamant histoires personnelles et discours scientifiques officiels, composant ainsi la connaissance du monde et une certaine vérité, orientée dans une direction plutôt qu’une autre. Suite à ses premières recherches dans le domaine de l’astronomie, Armelle Tulunda s’intéresse récemment au phénomène de pollution lumineuse : celle, omniprésente mais discrète qui ne fait pas vraiment débat, qui n’alimente pas les thèses catastrophistes, mais qui aura pourtant des séquelles non négligeables sur l’évolution des humains et non-humains dans leur rapport aux cycles biologiques. Car la lumière produite par l’environnement urbanisé ne permet plus à ceux qui y vivent d’être reliés au monde céleste, rendu invisible par un épais brouillard lumineux... L’artiste, ayant grandi en région parisienne relate l’anecdote suivante :&nbsp; « Pendant une visite il y a quelques années à la Cité des Sciences et de l’industrie à Paris, j’ai assisté à une séance au sein du Planétarium. Celle-ci présentait les différentes étoiles, planètes, ou encore phénomènes que nous pouvions voir à l’oeil nu. Malgré la qualité des images projetées, je n’ai pas pu m’empêcher de ressentir une insatisfaction que j’ai mis du temps à verbaliser. S’il y a tant de choses riches à voir, simplement en ayant accès à un ciel nocturne le plus dénué de pollution lumineuse, pourquoi m’étais-je déplacée dans un espace clos pour voir des images de synthèse? ».&nbsp; Dans le cadre de son exposition Intervalles dans la vitrine de la Gue(ho)st House, l’artiste confronte son expérience citadine avec celle de Delme, où les étoiles sont bien visibles durant la nuit. Les œuvres présentées conduisent à une réflexion&nbsp; sur nos relations personnelles au cosmos, sur nos pertes de repères considérés comme « naturels », et sur une période de crise écologique nécessitant souvent de trouver de nouvelles formes de reconnexion avec l’univers. 1. Le télescope spatial Hubble est un télescope spatial développé par la NASA avec une participation de l'Agence spatiale européenne, opérationnel depuis 1990. Une aberration optique particulièrement grave est découverte peu après qu'il a été placé sur orbite. Le congrès américain, ne s’y retrouvant pas dans la rapport coût du projet/promesse d’une meilleure visibilité de l’espace, a donc dû mettre les scientifiques face à leurs responsabilités. Un travail de retouche d’images en post-production, apportant une vision particulièrement enchantée du cosmos, a donc été nécessaire dans le cadre de ce projet. Armelle Tulunda creates artworks within the field of photography and imagery in the broad sense, through direct production, but also by appropriation of images taken from books or scientific websites designed for the general public. She is especially interested in the construction of these images, not only from a scientific point of view but also from political, sociological, and historical perspectives. By highlighting their modes of production, she underlines the way in which these images reveal a state of the world that does not strictly stem from unquestionable truth. A self-taught scientist who approaches this discipline with a deliberately artistic gaze, Armelle Tulunda was initially inspired by the beauty of these images, their poetic quality, while becoming aware of the facticity of their appearance: such as the ones transmitted since the early nineties by the Hubble space telescope1, which, since they are not sufficiently precise in their raw state, must be coloured, retouched, thus becoming more legible scientifically and accessible to the general public. The artist finds a pocket of freedom in these unknown methods, thus allowing her own images of the cosmos to stray, between infinite reveries, poetic abstraction and, implicitly, a reality of image production arising out of political and economic issues that are often far removed from pure scientific research. A highly subjective scientific “realism” thus emerges, with notable consequences on the collective cosmic imaginary, thus turning an image optimised for research into authentic documentation. Armelle Tulunda likes to anchor her artworks within a paradoxical situation, that of confronting imaging of great precision, supplied by tools with increasingly powerful technology – whose codes she appropriates – with the artisanal production of images in the workshop, drawing on photographic techniques that do not require sophisticated equipment, such as photomontage or analogue photography using chemigrams. These various manipulations allow the artist to question the photographic medium, its history, as well as its fragility in representing the real beyond its surface, often considered by the majority as an irrefutable truth. She is therefore interested in the way in which individuals perceive phenomenon that are not directly accessible to most people, and how the latter link their subjectivity to the unknown, by amalgamating personal stories with official scientific discourses, thus composing knowledge of the world and a degree of truth, oriented in one direction over another. After her initial research in the field of astronomy, Armelle Tulunda recently became interested in the phenomenon of light pollution: omnipresent yet discreet, this form of pollution does not really spark debate, or fuel disastrous theses, but it nevertheless has not inconsiderable effects on the evolution of humans and non-humans, in their relationship to biological cycles. The light produced by the urban environment no longer enables those who live there to be connected to the celestial world, rendered invisible by a dense fog of light… The artist, having grown up in the Paris region tells the following anecdote: “On a visit several years ago to the Cité des Sciences et de l’Industrie in Paris, I went to a screening at the Planétarium. The film presented the various stars, planets, or phenomena that we could see with the naked eye. Despite the quality of the images screened, I couldn’t help but feel dissatisfied – a feeling that it took me a while to verbalise. If there are so many amazing things to see, simply by having access to a night sky devoid of light pollution, why had I gone indoors to see computer-generated images of them?” Within the framework of her exhibition Intervalles in the window of the Gue(ho)st House, the artist confronts her urbanite’s experience with that of Delme, where the stars are clearly visible by night. The works presented make us think about our personal relationship to the cosmos, our loss of bearings considered “natural”, and about a period of environmental crisis often obliging us to find new forms of reconnection with the world. 1. The Hubble space telescope was developed by NASA with participation from the European Space Agency, and has been in operation since 1990. A particularly serious optical aberration was discovered shortly after it was put into orbit. The US Congress, not satisfied with the ratio project cost/promise of a better visibility of space, therefore had to confront the scientists with their responsibilities. Retouching work on the post-production images, which provides a particularly enchanting vision of the cosmos, thus became necessary within the framework of this project. https://armelletulunda.com/oneiros Tue, 03 Jan 2023 20:31:27 +0000 Armelle Tulunda https://armelletulunda.com/oneiros ︎ óneiros2020 Trois chimigrammes, impressions fine art contrecollées sur dibond blanc.24 x 36 cm chacun. Three chemigrams, fine art prints mounted on white dibond.24 x 36 cm each.— <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a22769e4ec30a0b9d7d670ce5f16d1f7a95c667bc278631d58b677cdbe81741d/IMG_6763-2.jpg" data-mid="213269244" border="0" src="https://freight.cargo.site/w/1000/i/a22769e4ec30a0b9d7d670ce5f16d1f7a95c667bc278631d58b677cdbe81741d/IMG_6763-2.jpg" /> <img width="3024" height="2969" width_o="3024" height_o="2969" data-src="https://freight.cargo.site/t/original/i/c48b69d43da9c78becd3d627db67a505e296e0c013b85cec47dcb99befafacc7/IMG_6765.jpg" data-mid="213269245" border="0" data-scale="77" src="https://freight.cargo.site/w/1000/i/c48b69d43da9c78becd3d627db67a505e296e0c013b85cec47dcb99befafacc7/IMG_6765.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/65fe57b898d9135d80d8f0da9be75bb2aadbf2e724354173f6d5e0d2c4354f77/IMG_6767-2.jpg" data-mid="213269246" border="0" src="https://freight.cargo.site/w/1000/i/65fe57b898d9135d80d8f0da9be75bb2aadbf2e724354173f6d5e0d2c4354f77/IMG_6767-2.jpg" /> The making of the chemigrams, from the window of my student’s sharedhouse in Nancy. Photos : Claire Morette Ce projet expérimental est né d’une volonté de garder la trace d’un moment précis pendant le premier confinement, sans utiliser le moindre appareil photographique. Le chimigramme se mettant en place grâce à des réactions de produits chimiques sur du papier photosensible exposé ou non à de la lumière, chaque expérimentation est unique. Celle-ci dépend en effet de la lumière, des mélanges crées par le mouvement, ou encore de gestes effectués consciemment ou non. This experimental project was born from the will to hold on to a precise moment in time, during the very first lockdown, without using a camera. The chemigram being made by using chemicals on photographic paper exposed (or not) to light, each experimentation is unique. The latter depends on light, mixes created by movements, or gestures made consciously or not. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0eb3cb35e8de136d6258bd8406789efdfb52b4f49adafc09316ee792ddea0331/_OD22827_small.jpg" data-mid="163450522" border="0" src="https://freight.cargo.site/w/1000/i/0eb3cb35e8de136d6258bd8406789efdfb52b4f49adafc09316ee792ddea0331/_OD22827_small.jpg" /> Exhibition view, Zone du dehors, Galerie R.Banas - Maison de la Culture et des Loisirs, Metz, France, 2021. Photo : © OH Dancy <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/06f935ade44ab9bf10025970385256547604aa4983c9a975aba53b344abbad1b/Chimigramme3_armelletulunda_2.jpg" data-mid="163450574" border="0" src="https://freight.cargo.site/w/1000/i/06f935ade44ab9bf10025970385256547604aa4983c9a975aba53b344abbad1b/Chimigramme3_armelletulunda_2.jpg" /> ︎︎︎a chemigram made of vinegar &amp; drying coconut oil <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/79d576a820728fcea7cd2ea3c7f37f8483daf8ac559d58a0e58b47883b373137/Chimigramme2_armelletulunda_2.jpg" data-mid="163450534" border="0" src="https://freight.cargo.site/w/1000/i/79d576a820728fcea7cd2ea3c7f37f8483daf8ac559d58a0e58b47883b373137/Chimigramme2_armelletulunda_2.jpg" /> <img width="4252" height="2835" width_o="4252" height_o="2835" data-src="https://freight.cargo.site/t/original/i/3a5af0b829cefc2920a82728a6455932db7edb19342eb2f25c95cc3a3dcd09bd/Chimigramme1_armelletulunda_2.jpg" data-mid="163450528" border="0" src="https://freight.cargo.site/w/1000/i/3a5af0b829cefc2920a82728a6455932db7edb19342eb2f25c95cc3a3dcd09bd/Chimigramme1_armelletulunda_2.jpg" /> ︎︎︎a chemigram made of soap https://armelletulunda.com/perspectives Thu, 27 Jun 2024 08:53:27 +0000 Armelle Tulunda https://armelletulunda.com/perspectives ︎ perspectives (ongoing) PERSPECTIVE III (NGC 457, NGC 6791, NGC 2360), 2022 Papier perforé, bois.Triptyque de 360 cm x 120 cm (200 x 120 cm chacun). Produit en collaboration avec l’atelier bois de la Villette.Punctured paper, wood.Triptych of 360 cm x 120 cm (200 x 120 cm each). Produced in collaboration with the wood workshop of la Villette. PERSPECTIVE (NGC 5139), 2019 Papier perforé, verre, métal, DEL.40 x 50 cm.Punctured paper, glass, metal, LED lights.40 x 50 cm. — <img width="1280" height="1280" width_o="1280" height_o="1280" data-src="https://freight.cargo.site/t/original/i/38bbdcc6125ee7f7b6282f147b2f301c52217c6abb02717a2a0a1d7fec539603/VST_image_of_the_giant_globular_star_cluster_Omega_Centauri.jpg" data-mid="213707646" border="0" alt="Globular cluster Omega Centauri (NGC 5139)/ ESO/INAF-VST/OmegaCAM" data-caption="Globular cluster Omega Centauri (NGC 5139)/ ESO/INAF-VST/OmegaCAM" src="https://freight.cargo.site/w/1000/i/38bbdcc6125ee7f7b6282f147b2f301c52217c6abb02717a2a0a1d7fec539603/VST_image_of_the_giant_globular_star_cluster_Omega_Centauri.jpg" /> <img width="300" height="169" width_o="300" height_o="169" data-src="https://freight.cargo.site/t/original/i/09931f35f28138f15bb8d56dc43108bf53a9c9f426ef800d6449cc0f1ee33b72/story.kongo.cosmo.cnn.jpg" data-mid="213707649" border="0" alt="Tour guide Johnny McDonald shows air holes designed like Yowa and said to have helped runaway enlaved people" data-caption="Tour guide Johnny McDonald shows air holes designed like Yowa and said to have helped runaway enlaved people" src="https://freight.cargo.site/w/300/i/09931f35f28138f15bb8d56dc43108bf53a9c9f426ef800d6449cc0f1ee33b72/story.kongo.cosmo.cnn.jpg" /> <img width="600" height="699" width_o="600" height_o="699" data-src="https://freight.cargo.site/t/original/i/174f1dc57052b49e34146578d49a32927beafebf3728353fac2b21627ce72de3/Bakongo-cosmogram.jpg" data-mid="213707647" border="0" alt="Illustration of the Bakongo cosmogram (Gidwitz)." data-caption="Illustration of the Bakongo cosmogram (Gidwitz)." src="https://freight.cargo.site/w/600/i/174f1dc57052b49e34146578d49a32927beafebf3728353fac2b21627ce72de3/Bakongo-cosmogram.jpg" /> <img width="750" height="754" width_o="750" height_o="754" data-src="https://freight.cargo.site/t/original/i/c8cead265580ddedad3ce0f29d1de96bc47b257c3589c47defee84c5781f6ccd/IMG_7168.jpg" data-mid="213707648" border="0" src="https://freight.cargo.site/w/750/i/c8cead265580ddedad3ce0f29d1de96bc47b257c3589c47defee84c5781f6ccd/IMG_7168.jpg" /> After spending three weeks in residence in a small village in Italy with the British collective Lumen Studios, I realized that two experiences had had a profound impact on me : that of having the possibility of observing an incalculable number of stars (compared to what I could see in the Paris suburbs), and that of observing a cluster of stars through a telescope – these groups of stars, sizes and distances seemed within reach to me. My first Perspective was carried out in such a way as to summon these two experiences : trying to transcribe the immensity of the sky on my scale, in a manual, imprecise way, while using an image of a globular cluster as a working basis. Thanks to a pucturing work with dry points of different sizes, this black sheet of paper was transformed on a light source. Following this first exhibition at the St Pancras Crypt Gallery in London, I came across a book on Palo Mayombe : a syncretic religion very present in Cuba, developed by Congolese slaves – the country from which my parents come. It involved a meditation technique of “drawing a dot” to invoke the Great Spirit and ancestors, often by drawing a cosmogram, called Yowa. As I continued this research, I heard of slaves drilling it into the floor of a church in Savannah, Georgia (USA). The guide of the First African Baptist Church, built between 1855 and 1859, explains : “Beneath the wooden floor, the builders left a four-foot-high space, large enough to hide hundreds of slaves who followed the Savannah River towards freedom. They drilled holes in the ground in the cross and diamond shapes of an African prayer symbol, the Kongolese Cosmogram, and publicly worshiped its ancient meaning. Quietly, below, the runaways adored the light and air that the symbols allowed.” This gesture, which I thought was intuitive, had been used by enslaved people of Congolese origin in the United States to allow them to breathe as they fled their condition. In what was the Kongo Kingdom, nganga (healers), like my great-grandmother, invoked Nzambi Pungu (the Great Spirit) and the ancestors during meditation rituals. In 2022, in France, for the first time, being aware of the scope of this gesture, I in turn invoked Nzambi Pungu and my cosmic ancestors – a way of getting closer not only to these stars that I see less and less, but also to a history, a culture and a legacy which has been fragmented by colonialism and imperialism. While waiting to continue this ritual in a new space that would welcome us, I continue my research between Paris and Kinshasa. ︎ perspective (NGC 5139) during the solo show “Out of sight”, at the Lumen Crypt Gallery (St John on Bethnal Green) in London, 2019. <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/287218806f3cba6fc783625948fc23a9cf9421646f979d42c1de467ca463329f/0YuK9jPA.jpeg" data-mid="218797501" border="0" src="https://freight.cargo.site/w/1000/i/287218806f3cba6fc783625948fc23a9cf9421646f979d42c1de467ca463329f/0YuK9jPA.jpeg" /> ︎the first tests before the creation of my first perspective, created during the Lumen : Atina Residency, 2018. ︎ John Hooper <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/158ff682f742d081d75f15d31aba6841f517e00685033f62d77b29d841ce2b15/Perspective_armelletulunda.jpeg" data-mid="213707645" border="0" src="https://freight.cargo.site/w/1000/i/158ff682f742d081d75f15d31aba6841f517e00685033f62d77b29d841ce2b15/Perspective_armelletulunda.jpeg" /> <img width="2520" height="3425" width_o="2520" height_o="3425" data-src="https://freight.cargo.site/t/original/i/ca87b26872dcf086db88e023a332db8f1e15dcf95b05c315103afac5e1a4cf07/Perspective-II_credit_armelletulunda.jpg" data-mid="245696428" border="0" src="https://freight.cargo.site/w/1000/i/ca87b26872dcf086db88e023a332db8f1e15dcf95b05c315103afac5e1a4cf07/Perspective-II_credit_armelletulunda.jpg" /> <img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/189d20cea8997691765bcb7da7f9cd14c81ae2614506b29c9fda15c7f7009aa1/2022_c-Quentin-Chevrier-54.jpg" data-mid="245696435" border="0" src="https://freight.cargo.site/w/1000/i/189d20cea8997691765bcb7da7f9cd14c81ae2614506b29c9fda15c7f7009aa1/2022_c-Quentin-Chevrier-54.jpg" /> Exhibition views&nbsp;︎ 100% l’expo, La Villette, Paris, France, 2022. Photo : © Quentin Chevrier Collection Artem #4, École Nationale Supérieure d’Art et de Design de Nancy, France, 2020.&nbsp; Falling stars / Stelle Cadenti, Saint Pancras Crypt Gallery, London, United Kingdom, 2019. Photo : Lumen Studios https://armelletulunda.com/serenade-of-water Mon, 17 Jun 2024 14:03:53 +0000 Armelle Tulunda https://armelletulunda.com/serenade-of-water ︎ serenade of water 2024 Séries de six cyanotypes 18 x 24 cm chacun Series of six unique cyanotypes&nbsp; 18 x 24 cm each —“L’œil véritable de la terre, c’est l’eau.” — L’eau et les rêves, Gaston Bachelard “In its caves the salt moans, mountain of buried light, translucent cathedral, crystal of the sea, oblivion of the waves.” — Ode to salt, Pablo Neruda In February 2024, I took part in the SÍM Residency in Iceland during a month thanks to the Individual Mobility Grant from Culture Moves Europe.&nbsp;My main goal was to create a series of cyanotypes made of seawater and other organic materials found in the landscape. During my research process, I navigated at the same time the wonderment of being so close to the ocean, the moutains and the sorrow that came from learning how climate change impacted the oceans. For this project, I especially wanted to focus on how warming climate has an effect on ocean salinity. In a study conducted by the Chinese Academy of Science, ETH Zurich, the American National Center for Atmospheric Research, the University of St. Thomas and the Pennsylvania State University, researchers found strong evidence that changes in ocean salinity can be used to estimate changes in Earth’s water cycle, because salinity variations very sensitively reflect the net exchange of freshwater between the ocean and the atmosphere. “Evaporation takes freshwater from the ocean into the atmosphere and increases the ocean salinity; precipitation puts freshwater into the ocean and reduces its salinity. Consequently, salinity changes integrate effects over broad areas and provide an excellent indicator for water cycle change.” Lijing Cheng introduced. &nbsp; <img width="3833" height="779" width_o="3833" height_o="779" data-src="https://freight.cargo.site/t/original/i/c1cd99440b390e29beaa76d9f789fb0b58a831f9c4e3cd490e3f5e591cac8c2e/Logo-_-Funded-by-EU-_-Goethe-Institut2.png" data-mid="218939741" border="0" data-scale="75" src="https://freight.cargo.site/w/1000/i/c1cd99440b390e29beaa76d9f789fb0b58a831f9c4e3cd490e3f5e591cac8c2e/Logo-_-Funded-by-EU-_-Goethe-Institut2.png" /> <img width="2100" height="2822" width_o="2100" height_o="2822" data-src="https://freight.cargo.site/t/original/i/a618a5bdf297084112b13b8ef069275979cbc3a2af58dc43fc6af188026bd7c2/tulundaarmelle_1.jpg" data-mid="219013129" border="0" src="https://freight.cargo.site/w/1000/i/a618a5bdf297084112b13b8ef069275979cbc3a2af58dc43fc6af188026bd7c2/tulundaarmelle_1.jpg" /> <img width="2084" height="2806" width_o="2084" height_o="2806" data-src="https://freight.cargo.site/t/original/i/6f57524dbf5253cb88a7fe58049a8f4ec85105aa0d4f9c83282f99b364ffefea/tulundaarmelle_2.jpg" data-mid="214049778" border="0" src="https://freight.cargo.site/w/1000/i/6f57524dbf5253cb88a7fe58049a8f4ec85105aa0d4f9c83282f99b364ffefea/tulundaarmelle_2.jpg" /> <img width="2076" height="2806" width_o="2076" height_o="2806" data-src="https://freight.cargo.site/t/original/i/bbedd4ac6de0a7d97f902ab569bc019f03bb4e2d17436c427ff7e964c34a6168/tulundaarmelle_3.jpg" data-mid="222390180" border="0" src="https://freight.cargo.site/w/1000/i/bbedd4ac6de0a7d97f902ab569bc019f03bb4e2d17436c427ff7e964c34a6168/tulundaarmelle_3.jpg" /> <img width="2100" height="2835" width_o="2100" height_o="2835" data-src="https://freight.cargo.site/t/original/i/d11188286be6ba071051f42a4528ffd17a5653efb7ba2c80465bf567a6b318a0/4.jpg" data-mid="213708703" border="0" src="https://freight.cargo.site/w/1000/i/d11188286be6ba071051f42a4528ffd17a5653efb7ba2c80465bf567a6b318a0/4.jpg" /> <img width="2084" height="2806" width_o="2084" height_o="2806" data-src="https://freight.cargo.site/t/original/i/f0e132bae99b4f55548c46d34a86f541abe2e4713cd673aef9f05bd9f4ddf63e/5.jpg" data-mid="213708704" border="0" src="https://freight.cargo.site/w/1000/i/f0e132bae99b4f55548c46d34a86f541abe2e4713cd673aef9f05bd9f4ddf63e/5.jpg" /> <img width="2101" height="2833" width_o="2101" height_o="2833" data-src="https://freight.cargo.site/t/original/i/40c58404ad123f38c09dcee8a9ddf11d993188fb14830b6521629ac1c6e63ab6/6.jpg" data-mid="214049655" border="0" src="https://freight.cargo.site/w/1000/i/40c58404ad123f38c09dcee8a9ddf11d993188fb14830b6521629ac1c6e63ab6/6.jpg" /> I wanted for the work to contain the beauty of the water cycle as I was witnessing it in Iceland : rain, snow, ice and the oceans... while using elements available to me that could translate visually changes linked to salinity and acidification. I decided to use snow, ice, vinegar for its acid ph and to create salt crystals on coated paper after a happy accident. I also realized that rinsing my prints with hot water toned them, as the hot water in Iceland contains sulfur. Those cyanotypes, going from almost entirely white to deep blue are the results from a collaboration with water in every step, elements that can be linked to what disrupt oceans eveywhere on Earth. Those shades of blue, “the color of longing for the distances you never arrive in” as Rebecca Solnit would say, or the color of Joan Miro’s dreams contains both my love and gratitude to the oceans but also a sense of grieving for what is being lost. What happens when what makes you dream is vanishing ? I spent hours by the ocean, walked inside a melting glacier, stood tall under an amount of snow that I haven’t experienced since childhood and wondered what the future held for these experiences that have been full of joy, wonder and a feeling of togetherness with our planet.&nbsp;