Supported by
By zoe lescaze
FOR A RECENT APRIL AFTER MIDI, Marguerite Humeau went to see dinosaurs.
A long motorcycle trip took the French artist from his east London apartment to Crystal Palace Park, where the first sculptures of prehistoric animals of a lifetime made their debut in 1854 and now emerge from the lush vegetation with an air of incongruous personal importance. “They were meant to be cutting-edge science at the time, and are now being used to make the Victorian era laugh and its inaccuracies,” Humeau said in a video chat, tilting his teletelephone toward a wildly out-of-the-ordinary two-ventrus frame. . fundamental representations of iguanodon. Large mausoleum-sized reptiles looked back defiantly from an island covered in vegetation, supposedly unaware of its obsolescence. A few ducks staggered when a nearby cell phone made a metallic sound: new forays into the pseudo-primordial scene.
Temporary mixing amused the 33-year-old woman, whose strange and biomorphic sculptures and installations occasionally feature extinct species, ancient gods, avant-garde generation, and mythical creatures of their own design. In exhibits evoking various luxury cloning facilities, extraterrestrial blood banks and primitive caverns, Humeau confronts the public with strange views: pink hippopotamus milk pumped through synthetic veins; pink carpets dyed with all chemicals in the human body; Curved and voluptuous bronze tangles encouraged through manatee brains and Paleolithic-style figures of Venus. With their serious ridges and sensual grooves, the works alternately evoke medical material, internal organs and deformed bones. “I think about my projects, or their realization procedure, like time machines, and maybe also area machines,” she says. “It’s about creating transitions between things that have gone into the past, providing and the future.”
Advertising