is part of the Informa Markets Division of Informa PLC
This site is operated by a business or businesses owned by Informa PLC and all copyright resides with them. Informa PLC's registered office is 5 Howick Place, London SW1P 1WG. Registered in England and Wales. Number 8860726.
Sentences, souffle et linceul, 2018
Presented by Art Mûr (Booth C16)
Jannick Deslauriers’ works, her subjects broken and decaying through entropy or more violent and intentional acts of demolition, tackle salient issues of the Anthropocene: trans global commerce in weapons, energy and human beings, what the artist describes as ‘a collective history played out daily in news media.’ Fractured, the ‘translucent and dislocated’ form caught in a moment of demolition which is the eponymous work in Deslauriers’ Sentence, souffle et linceul is a full scale automobile: its form distilled from meticulously researched images of both intact and damaged vehicles; its bespoke distressed surfaces conveying a visceral engagement with the reality of ‘certain geopolitical issues,’ the artist seeks to address, the premeditated destruction which is ‘a symbol of our times.’ The work, and the shroud in its title—‘linceul’—reference the human body, the inevitable bodies that are connected to such images in real life.
In her own writing about her practice, the artist emphasizes the relationship between the sculptural works and a drawing or doodle: the darkened lines of black thread which trace the contour and describe the ‘object in space’ conjuring the restatements of a gesture drawing; the line and texture fusing together in a graphic presentation that is wholly contemporary, at the same time it evokes Roy Lichtenstein’s appropriation of contour line and Ben-Day dot—as if Deslauriers’ forms are pulled from the pages of a graphic novel detailing what Turpin refers to as the ‘homolithic itinerary [of] collapse, catastrophe, apocalypse.’ 
Writing about Joyce Wieland’s deployment of the textile arts in her practice, Lauren Rabinovitz observed the artist ‘literally cushion[ed] her message with the materials and further softens a tough political statement through humour.’  Participating in this rich tradition, Deslauriers’ work challenges the viewer to consider consequences—sentence—by way of the ephemeral.
 Anne-Sophie Springer and Etienne Turpin, from presentation text for Songs to Sing Beyond Mankind: Recent Compositions, Harvard University 19 March 2016 , anexact.org.
 Lauren Rabinovitz, “Issues of Feminist Aesthetics: Judy Chicago and Joyce Wieland,” Woman’s Art Journal 1:2 (1980–1981): 39.