Caroline Bagot, My Big Geneva

Caroline Bagot exhibited her works for the first time in 2008 at the Chiyofuku gallery, in the city of Kurumé in Japan, before being selected for the 3D biennale interface where she exhibited her series “Trompe le monde“.

Neither quite facing nor quite in…

In 2014, her strupltures were acquired by the Kyushi Sangyo Museum in Japan. The work of art Couple is composed of earth, hemp, oil, and wood.

She signs her poems X.R. and never wanted to explain why.

With a strulpture, you will neither stand quite facing nor quite in. Between a sculptural space and an architectural space – the space from which its name comes.
It is a question of exploring a set of processes that are difficult to explore by sculpture as by architecture.
Let us schematize and retain for each of these practices some of their dominant ones; we will then identify, under various aspects, the following relationships (sculpture/structure/architecture): postures / positionings / places; memory / rhythm / wear resistance; pedestal / Socle / ground; full on a background of emptiness / potentials of the void / emptiness on a background of fullness; spectator / Present / inhabitant; substantializing singularization / differentiating variations / spatializing division.

Although the structures propose to explore unusual regions of space, including from the point of view of the traditional sharing of the arts, it is however not a question of erecting an ideal space removed from the places, at most, we could invoke the idea of such a place, as soon as we invested in the structure: each structure has its originality according to the space with which it recomposes the emergence of this space, and takes on meaning through the reflection engaged on our being in the world
(neither quite facing nor quite in…).

 

Love

Couple is inspired by her encounter with the Japanese artist Takuya with whom she communicates harmoniously only through art. They live in a modest house in Kyowa Saku Nagano.

They now only communicate online to the exterior world with a weekly Skype call with the family in Tokyo and in France.

 

The dance of life, which started again

 

Abstract perhaps this approach on which life is nourished: squares and circles, columns with geometrically drawn angles and yet which diverted, constitute an interior in which to dwell. In the space of a hangar, the papers form in its middle the reception of a being enveloped but already outside: from one black to another, black squares which form the infinite limit of space at the black circle that defines the point where stands – what? Perhaps a crossing, a transfigured floor, an inhabited void, an absent column, embodied in our sublimated bodies.

“I” is the edifice that was raised by love, often absent but manifested by its construction, because basically, what does it matter what we build if not the concrete actions that make us be present. With a light step, suspended in the contained space, a time – ephemeral sensation – revealing any emergence in the world, stretches out and makes the sun stand outside and the black circle inside. 
Ephemeral and fragile, joy is urgent. 

Feet resting on the circle of the enveloped square, we turn, silently singing the dance of renewed life.