In my hands (...)
Julien Creuzet
Born in 1986 at Le Blanc Mesnil (France), lives and works in Montreuil (France).
Date:
2018
Medium:
Wood, glue, ink, silica, resin, plastic, blow dryers, air, electricity, <i>cassis cornuta, charonia tritonis, lambis conch, syrinx aruanus</i>, reed, cables, ropes and textiles (Inhalations, apnea, exhalations)
Julien Creuzet, In my hands (...), © SAIF, 2018. Installation view, Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, 2018. Produced by Lafayette Anticipations, Paris.
© Pierre Antoine
In my hands
gesture, rest, touch,
the touch of my mouth,
on your skin, slip my fingers.
My hands are not
between, my palms,
the lines, the riverbed,
the blood, the red wind,
to say hello, long echoes,
long strange language,
long note recalcitrant, held
to say word, without meaning,
without you, feel me alight.
The thief's hands,
the hands of the rifle
the hands of the thief painter
the hands of our dirty hands
I touch you, slowly, rub again
I tell you,
spiral, turning,
I'm winding you
howling storm
I was in front of him
man, transparent
rubber
I was, whistling
fold of tongue
leaf, undulating
howling storm
the painter painted the war
after stealing the men
I screamed without understanding
the hairy electric (...)
Julien Creuzet creates here a dialogue between a network of musical conches and several suspended sculptures that remind us of oversized hands – references to the avant-garde at the beginning of the 20th Century. The installation starts with these large shells in a vast array of sizes and origins. There is the charonia tritonis from the Lybian Sea, the lambis conch from the tiny island of Cabrit in Martinique, the syrinx aruanus from Hunter Island in Tasmania and the cassis cornuta from the Red Sea in Yemen, all acquired by the artist in the Paris suburbs and hence a reflexion of the constant commercial and cultural exchanges across continents. These conches span across different contexts and uses. They are used as wind instruments in many coastal populations such as in the Pacific Islands. They are also well known in India where they have a deeply sacred meaning as they are used during religious ceremonies. Lastly, in the French West Indies, they provided a direct form of communication amongst the plantations to announce various events (the arrival of a boat, births or social uprisings).
Julien Creuzet, In my hands (…), © SAIF, 2018. Installation view, Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette, 2018. Produced by Lafayette Anticipations, Paris.
© Pierre Antoine