For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
For my further artistic practice I would like research the accelerating effect the implementation of digital technology and algorithms has on an individual.
Artworks and Processes
Artworks and Processes
Artworks and Processes
Artworks and Processes
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Ich bin ein Textabschnit. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten. Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt. Klicke hier, um deinen eigenen Text hinzuzufügen und mich zu bearbeiten.Ich bin ein Textabschnitt.
Margherite Humeau
© Margherite Humeau
“I am prototyping worlds that are invisible or extinct, or parallel to ours.”
– Margherite Humeau
mysteries of human existence
cyborg temples
laboratories of the extinct
create new mythologies for our contemporary era
expression of consciousness
thinking beyond the domain of humans
Humeaus work spans great distances in space and time, from prehistory to imagined future worlds she pursuits the mysteries of human existence. She breathes life into lost things, whether they be lifeforms that have become extinct or ideas that have disappeared from our mental landscapes. Her supernatural, biomorphic sculptures seem to have been lifted from a work of science fiction, occupying a world in which hypermodern technology and medical equipment have displaced human life. She finds new connections between speculative science and ancient myth, robot and fossil, biomedical engineering and archaeological discovery. The spaces she creates can be read as cyborg temples and laboratories of the extinct. Filling gaps in knowledge with speculation and imagined scenarios, her aim is to create new mythologies for our contemporary era. (Weisburg, 2022; White Cube)
“All the worlds I am creating are based on real facts. They are based on mysteries that I am trying to understand. I am extracting real things, and then expanding into “what if?” scenarios.
It comes from prototyping worlds that are invisible or extinct, or parallel to ours. They might exist, but we don’t really know about them.”
(Humeau)
“In her new pieces made from aluminium, salt, plastic ocean waste, and algae for The Milk of Dreams, Humeau borrows from research on ecstatic rituals, trances, animal morphology, and climate change. Posing ritual as an expression of consciousness, she stages sinuous marine sculptures as if caught in a moment of religious rapture. What emerges here is a type of sublime understanding of mortality that may exist beyond the domain of humans” (Weisburg, 2022).
In the Studio:
Marguerite Humeau
White Cube
Transcribed passages
In the Studio: Marguerite Humeau | White Cube
(0:00 - 1: 19)
Everyday in the studio is different. I do a lot of collaborations so I meet a lot of researchers, scientists but also more recently I have been meeting lots of people who hold bodies of knowledge that are about to get extinct. Also I do a lot of research which could be reading or researching again through conversation. I spend a lot of time thinking also I make diagrams to understand the origins and the future of human kind and a lot of my work is about speculating about worlds and echo systems that do not exist anymore because they have gone extinct or that we don´t see because they are in parallel presence.
(1:10 - 1:19)
Whenever a hypothesis is clear in my head I start sketching so for example in the past I have invented a world in which elephants and humans would have become dominant on earth and would have become sentient and developed a sophisticated language. So when this speculation is clear in my head I start sketching how this elephant communities could look like how this elephant civilisation could look like, how their bodies could have evolved.
(1:36 - 2:12)
So I do lots and lots of sketches probably hundreds per project and I could also be traveling to foundries I work with, to the fabricator in London who makes a lot of my casting works. So more recently we developed a more hybrid way of working where we have been integrating all sorts of different organic and inorganic materials.
For example for my work in Venice I wanted to create a watercolour effect on the surface of the sculpture so I have been working with them in the studio to achieve this effect.
(3:10 - 3:33)
I feel that I have built a body of research and of work that is very coherent and that I have already created connection between things that were not connected before and it is a fertile ground.
References
Weisburg, M (2022) Margherite Humeau. Available at: https://www.labiennale.org/en/art/2022/milk-dreams/marguerite-humeau (Accessed: 05.11.22)
White Cube (n.a.) Margherite Humeau. Available at: https://whitecube.com/artists/artist/Marguerite_Humeau (Accessed: 05.11.22)
White Cube Youtube (2022) In the Studio: Marguerite Humeau | White Cube. Available at: https://www.youtube.com/watch?v=AEz07l3kYck (Accessed: 05.11.22)