Through encounters and with practices stemming from performative action and data collection, I set processes in motion to probe aspects of human experience. My projects usually extend over long periods in various research contexts, often in living or working environments. They involve individuals and communities in the production of signs, traces and stories. I set up instructions and protocols to render perceptible things that are usually neglected or difficult to represent, a universe off the radar, held back – in waiting. Under the guise of collections, some of my works restore the traces of my research projects and exchanges. Extracting traces from their dailiness to build them into archives offers new perspectives: the invisible becomes tangible, details pool together to reveal the infinite, and commonalities disclose unaccounted proximities.
Through performance, some projects physically explore states of attention, awareness and commitment. Various physical and situational constraints – obstructing vision, crowding the body, covering the face – render my work, the doing of it and the process, in movement, beyond the visual, in “un-mastery.” For example, embodying a state of dispossession, of loss – to lose bearings, control and self-image.
From this perspective, to be an artist is to experience one’s limits, shake up the idea of a static reality, break fixed patterns and work through movement, allowing for discomfort.
Raphaëlle de Groot
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