Vitani Agnès

Agnès Vitani collects, consumes, recomposes, stretches and reformulates elements and materials that, in the intrigue of her approaches, recover identities otherwise presumed. Consumed, the material is rehabilitated, lived, trivialized or marginalized. These adjectives do not compete according to the point of view we bring to it.
The analysis of matter is a constant feature of Agnès Vitani’s activity: from this stems the greatest unconsumable Barbapapa: Barbe Bleue (Bluebeard). Nebulous, declination of the colors of the felts and fraying of the fluffy ones unfold in a magic swelling(Oz?).

I particularly like the Boulders. Blue Jean (David Bowie?), Working Blue (Denim?), Indigo (The original habitat of the indigo tree remains however unknown: in India, the plant has been cultivated for more than four thousand years) .

Agnès Vitani’s Rocks look like maritime cushions or Japanese footsteps; synthetic foams covered with used denim canvas, spotted with paint, “almost” emblematic re-marks of the painter on his clothes. The objects are placed in space and like his other works, they are particularly exposed to light. Jumping from one rock to another, then spreading out…

Finally, let us return to the “spirit” of sedimentation that runs through all of Agnès Vitani’s work: the “soaps”, her latest works carry the domestic enigma of this experimented variation of color through an observed, tested chemistry. A charm yes, the sense of construction of a work that is exposed in its process before it is even exhibited. It looks like an Opal…

The earth shook again in Los Angeles. An earthquake of magnitude 5.1 occurred on Saturday, March 29, in the suburbs of the city. The tremor was felt in much of southern California, in the southwestern United States. This earthquake occurred twelve days after another tremor of magnitude 4.4 which had awakened the inhabitants of the megalopolis on March 17th.**

This set of “soccer balls” forms an ethnic group that has no similar coverings or external signs – except for their size and their “32 faces*” – that would make it possible to recognize them. These eccentric jewels, marginal if one is attached to the sportsmanship of their origins, delicately occupy the space that no sculpture can claim.

* Geometrically, the 32-panel balloon can be described as a truncated icosahedron, a semi-regular polyhedron with 60 vertices and 32 faces, 20 hexagonal and 12 pentagonal, whose edges are all the same length.

Ingrid Luche

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