Laurene Bois-Mariage realizes for the ImagoRevolution project Chance Encounters, a mixed media installation of an appropriative nature, editing and gathering samples from various sources.
It alludes to a line from french poet Compte de Lautréamont: “Beautiful as the chance encounter of a sewing machine and an umbrella on a dissection table” (1869), later made famous by Surrealists as a manifesto of their techniques of automatism and free association.
This is with such a freedom that the installation commingles edited fragments of security signs and safety instructions, with an animated gif made after Eadweard J. Muybridge’s photographs of a flying cockatoo, colored tree branches, small animal-shaped safety reflectors and a piece of music extracted from an assembly tutorial video. In the way Surrealism deals with the sense of absurdity, Chance Encounters confusingly blends utopian and dystopian patterns in, as if to convey an increasing feel of uncertainty that our fast-changing society and its crises continuously nurture.
When the accumulation of security measures and signs better brings about anxiety than reassurance. When french Yellow Vests movement makes safety equipment become emblematic of popular protest. When the bird flight recalls that species may inevitably move toward their own disappearance.
Chance itself says it all, referring to luck, fortuity and hazard in the same time.
Laurene Bois-Mariage is a visual artist originating from France, living and actively working across Estonia and Finland. She first received art education in Fine Arts to later graduate as Master of Arts from l’Ecole Nationale Superieure de la Photographie in Arles.
Developed since then through a variety of media, her work is attentive to collective practices of image, keen on observing both contemporary and former contexts of production and circulation.
Starting where image is omnipresent, She makes an exclusive use of visuals gleaned on media. In regard to the present ever-growing, hyper-accessible stream of images which we all are familiar with, which we all contribute to, she keeps on recycling and favor picture editing versus making or taking.
Today she is much concerned with investigating the boundaries between amateur, art and professional productions. Grounded in appropriation, her works playfully cite, borrow, sample, mix and blend from here and there.
She regularly presents group and solo exhibitions, and she is the recipient of multiple distinctions and participate to various cultural events, internationally.
More info: www.laureneboismariage.weebly.com