galerie anne barrault

Window Shade, 2013, 163x278cm, 2 laser-jet photographs cut into strips and laminated on both sides of the blades of a venetian blind.

When the gallery opens, the blinds are shifted: the day sky is turned to the inside and the night sky to the outside. When the gallery closes, the blinds are shifted again, the night sky is turned to the inside, and the night falls inside of the gallery. Window Shade acts in offbeat with the natural cycles of day and night. The space can follow its own time. A double reality is created: in the same day, the day rises twice, and the night falls twice.

Faux-Jumeaux, 2014, natural white rose, artificial white rose, vase, 15x30cm.

A natural rose and its plastic imitation cohabitate in the same vase. As the days pass by, the difference between them becomes more evident.

Opposite Chain, 2014,iron and stainless steel hand-made chain, 250x5cm.

The chain alternates one iron link with one stainless steel link, two metals with opposite quali­ties: one will rust, and the other will never rust.

Artificial Nostalgia, 2014, key, earth, 15x15x7cm.

The key of the home of the artist in Lebanon is stuck in a small pile of earth from the country where she currently resides.

STÉPHANIE SAADÉ

Graceful Degradation, 2013,
iron, stainless steel and brass welded together, 40x270cm.

A ladder is made of three different metals, each more precious than the one before, incarnating in its own structure the idea of ascension.

Nostalgic Geography, 2013, printed map, mirror stainless steel track, 83x83cm.

A familiar trajectory, regularly undertook by the artist when she lived in Paris, is transposed onto the map of Lebanon, where she now lives. The departure point in Paris - her former apartment there - is used to determinate the departure point on the map of Lebanon - her current apartment. The direction and scale of the original trajectory are respected. A number of obstacles prevent the Parisian path to be crossed in Lebanon: it is interrupted by a river, buildings, or the absence of streets. By chance, the end point on the new map is located very close to the place where the artist lived as a child.


Reverse Sea, 2014,water, photograph, 29,7x42cm.

Everyday, a glass of water is poured at the bottom of a photograph of the Mediterranean sea, taken from Beirut. The water goes up on the photograph, slowly giving it the wavy aspect of water, and reactivates this faraway and inaccessible landscape. In reverse, the water of the Mediterranean sea pours down from the photograph to the floor, closer to where we are. (work realised when living in Maastricht and in Paris).

 

Golden Memories, 2015,old photograph, gold leaf, 10x14,5cm.

A photograph from the artist’s childhood is covered with gold leaf. The magnified memory of the past is no longer accessible, and now mirrors the present reality.

 

Accelerated Time, 2014, broken vase, 12x45x9cm.

A vase is broken into smaller and smaller fragments, until some of its fragments are reduced to powder.