Karine Giboulo

Annie

2018

In 2015, I made a series of sculptures called "HYPERland" illustrating the utopia promised by the "liberal democracy" and the dystopia that is rather created by the market and financ...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

For Nicolas Bourriaud, the flea market is a place where “past production is recycled and switches direction” and where “an object is given a new idea.” On the stalls of the flea market, objects are resurrected and given a second life. This is where Jennifer Small...

For Nicolas Bourriaud, the flea market is a place where “past production is recycled and switches direction” and where “an object is given a new idea.” On the stalls of the flea market, objects are resurrected and given a second life. This is where Jennifer Small...

The draw of clay for Anastassia is in its innate ability to connect us to our unconscious and past experiences of touch. Her work, led by intuition and a sense of play, explores the ...

Anneke Bogardus "Lion Face" 2023 Entirely hand sculpted. Raku fired. Finished With touches of Oil paint, Pencil, and Acrylic. 67” around, 8” Off the wall. Raku firing is an ancie...

Anneke Bogardus "Poppy №2" 2022 Entirely hand sculpted clay fired in a gas kiln. Finished with touches of acrylic. 17 3/4” tallest, 49” widest, 33” around bottom base. About the ...

This piece titled "Just My Luck" is an original artwork made from fired clay, acrylic, darts by Darla Jackson. This piece measures 16"h x 16"w x 4"d. This piece, featuring a kitten ...