(Text in the collective exhibition "Worst Case Scenario", Boulevard Malesherbes, April 2021)
 

Louise Vendel's Store is reminiscent of what Mona Chollet calls “the fantasy of a biosphere to oneself” *, this tendency that we have to recreate the exterior inside. The work acts like a trompe-l'oeil, a paper curtain on which is drawn in charcoal, in a shaded forest, a hut that would serve as a refuge. This place reminds us of our childhood, that of endless hiding places and silences. This relationship to the movement of space also occurs with Dug, this discreet painting from which a dog tries to escape. Rummaging in a sofa, he recalls an everyday scene that testifies to the survival of the animal instinct, which strives in spite of itself to seek its prey in velvet cushions.  

 

*  Mona Chollet, The Tyranny of Reality, 2020, Folio




Chloe bonnie more

curator of the collective exhibition

"Worst Case Scenario"

 

April 2021

(about the Still Life installation, Villa Belleville,  February  2020)
 

Louise Vendel questions our relationship with nature. In her installation, sensitivity and harshness of attachment seem to rub against each other. Turning its back on its design, the back of the fence resembles a false landfill - since made of found and interchangeable objects - which would have been invaded by a new invasive species of plant. The arrangement of her works in space thus constitutes an invitation to survey possible frontier spaces. The idea of a phantasmagorical romanticism then becomes intertwined with that of a possible dystopia. The adolescent present seems to ignore the fundamental links which unintentionally link him to a ubiquitous nature. The situation behind the drawing induces a similar divide, between the plant world and industrial pollution. Louise Vendel's installation explores the unconscious limits that we set between an intimate situation and a common environment, between the “cultural” space and the “natural” space.

The arrangement of her works in space thus constitutes an invitation to survey possible frontier spaces which are the promise of a dreamlike world in which to dive, which exceeds reality while resembling it too strongly.




Dimitri Levasseur,

curator of the collective exhibition

"The Raft of the Peaks"

 

February 2020

Louise Vendel
Trompe l'oeil, ear clip / 7th sense

(about the exhibition "Possablement Nous", Galerie du Crous, June 2019)
 

 

Frequently mixing her drawings with architectural elements and designer furniture that punctuate the spaces of her exhibitions, Louise Vendel sublimates the charcoal technique. Her installations explore the unconscious limits that we set between intimate space and common environment, between “culture” space and “natural” space. The arrangement of her works in space thus constitutes an invitation to survey possible frontier spaces - blinds, fences or rugs - which are the promise of a dreamlike world in which to dive, which exceeds reality while resembling it too strongly.

 

Anchored in wild realism, the artist's mental landscapes penetrate the exhibition, interfering  in the reality of the spectator in different forms, in trompe-l'oeil. They reflect reminiscences and clues from a forgotten outside world. The darkness in which they anchor themselves is not without evoking a certain phantasmagorical romanticism, which flirts with a possible dystopia.

 

By a phenomenon of reversibility, on the borders of the reversal proper to irony, the comfortable universe of the exhibition space recalls the intimacy of an apartment, attracting and rejecting the natural, making it as invasive as it is inaccessible. The flies posed on a white wall thus disturb the perception, the framework "  domesticated  Which encircles them constituting too palpable an indication of their imposture. The wallpaper falling in a controlled undulation (which one could also read as a false negligence) responds to the representation of a black and white burning hearth, both made of coal and tending to become it again.

 

As they walk, the viewer thus experiences a disturbing experience of a natural state which will no longer be, or which will only survive in the echo produced by an enclosed space. The sound installation Echo's Travel, while producing a phantasmic light in a dark space, transmits to the visitors of the room the sounds and the words of those who lived there before them. Louise Vendel makes us witnesses to the elusive.

 




Violette Morisseau and  Margot Nguyen,

for Diameter

 

June 2019