Gridded Whiff

Clémence de la Tour du Pin

7 April — 19 May 2018

Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Exhibition view, “Gridded Whiff”, Clémence de la Tour du Pin, 2018, In exetenso, photo : Vincent Blesbois.
Consisting of electromagnetic fields, the Auric body oscillated in a circular fashion. No longer contained by the material frame, it had spread through the room in the last hours,, invading the empty corners and thereby forming some sort of shadow halos around the remains of It’s primary shell. It was easy to distinguish the pointed forms of the upper and lower maxillae of his cheeks through the thick white skin on his thin, slender face. ​sa peau de Lait ​was a form of protective coloring: a gradient gridded reptilian Whiff of whitish light-grey shade. The surface varied regularly according to the level of humidity in the chapel ​and its sexual desire. ​someone is blowing inside her, intensely, and it filled of steamy air.​ It seemed that her skin was stretched taught on the internal bone structure ​as is a canvas on a wooden frame​ creating a subcutaneous tension in the architecture of her joy. The translucency of her skin revealed a network of blue veins and small viscous channels. The cross of lines upon her radiant profile resembled a landscape which performed ​deriving pleasures. Figure meditates on three diverse and fluctuating ways of maintaining connections with the tangible before ​It fades to something else. - Within his orbit, It had small, celestial black eyes in the form of almonds encircled by Aureolin​ ​yellow eyelids - according to some cycle, eyeballs are either concave black holes or convexed like blind ​Cat Eyes Marbles ​which fix vaguely upon some point on the tiled floor - there is no ritual ability to blink (in the case that the Game Rule is followed, the licked eye would blink again). on the middle of the forehead, the third eye -was sewn together with rude stitches. Her distinctive smile revealed a set of teeth divided in two, as if cut horizontally by a saw in the middle. There were some teeth longer than the others which were pointed and erected downwards like sharp arrows. Mounted on metal rods inserted into the gums, a small system allows for the articulation of the ivory facade. They are wisp and reveal the grey metallic structure carrying them. They are pruned to their roots by venomous groundwater, a melange of stiff ashes and amber mucilage. ANGEL spine is straight toward the sky and its feet parallel to the earth, I draw the ​inverted wings​ gesture by putting my arms folded around my torso and making a small round movement. Ending it by placing Synchronicité -a small, but precise pressure- from my elbows onto the sides of my stomach and abdomen. It almost seems as though they could be an extension of my internal organs. Near a medieval castle, ​wings grow, structurally made of wood, a gothic furniture, they are thin and ornate. ​The position of my arms formed inverted appendages. ​dance inclinaison.​ in this voided space, It imitates the departure of a non-existent protuberance. Two symmetrical abrasions left on the the abdomen from the elbows are transfigured to a sanctified map.