Île du Dôme
(2022)
Île du Dôme takes as its starting point the science-fiction graphic novel L’Île d’Auvergne (1993), which imagines a future in which rising water levels have transformed the Auvergne region into an archipelago. In this flooded landscape, the city of Liberty is built across the trunks and canopies of giant sequoias whose roots have adapted to permanent submersion. Despite the scale of the catastrophe, the human relationship to nature remains largely unchanged: survival is still organised through occupation, extraction and control.
Developed as a site-specific work for the Musée d’Art Roger-Quilliot, Île du Dôme proposes a different evolutionary response. Here, humans themselves become rooted: skin turns to bark or stone, bodies become static, and individuals merge with the landscape as living islands capable of supporting other forms of life. The work uses this speculative transformation to rethink ideas of adaptation, interdependence and communication, imagining a society no longer positioned above its environment, but physically embedded within it.
Location
Museé d'art Roger Quillot, Clermont-Ferrand
Dates
2022
Materials
Quilting tecnique on outdoor fabric
Curated by Luís Manuel Araújo
Shown during VIA Arts Prize in 2019
Best Foot Backward was conceived in response to the architecture of Sala Brasil at the Embassy of Brazil in London, a former P&O ticketing hall whose decorative programme retains maritime motifs and traces of its history as a space associated with travel and departure. Working with these existing elements rather than treating the gallery as a neutral container, the installation used textile, plaster and sculptural interventions to redirect the architecture, producing a spatial experience in which orientation, reflection and scale became deliberately unstable.
The title loosely echoes the Curupira, a figure from Brazilian folklore whose backwards-facing feet are said to leave tracks that lead travellers in the wrong direction. Rather than illustrating the myth, the exhibition takes this gesture of misdirection as a structural device, connecting it to recurring concerns in the work around escapism, uncertainty and the construction of unreliable narratives. The space becomes both route and obstacle: familiar enough to navigate, but continually resisting a clear beginning, ending or direction.
