What’s your story Ellande Jaureguiberry? Where do you come from? Could you tell us something that could make us understand who you are and what are your artistic obsessions?
I grew up between the suburbs of Paris and the Basque Region (i.e. in the South West of France, near the Atlantic ocean and the Spanish border), where part of my family still lives. So I am often considered as a Parisian by my Basque family and as a Basque by my Parisian suburban family. Moreover, my name is Basque, and “female-sounding” in French. My arrival usually surprises people that I meet for the first time, who usually are expecting to meet a girl. I am neither one nor the other, neither from here nor from elsewhere; today these indeterminacies are amusing and nourishing for me.
On your website you have texts about your work by others, but no text by you, does it mean you have troubles defining yourself?
Who does not have a problem to define himself ! In my practice, my intention is to disrupt the limits of the object, its aesthetic function or its potential utility, to free it from whatever ties it to a space, a genre or a thought.
What is your relation to ceramics? Why do you use this medium a lot?
For me the practice of ceramics and modelling is above all a moment of exchange between my body and the earth, from which we emerge and in which we will all return. This relationship can be sometimes sensual and fluid, but can also be difficult. It is from this ambiguous relationship that my forms and objects emerge.
Your exhibition Les fruits de la terre (Fruits of Earth) at the ESADHaR of Rouen (France) is also about ceramics but linked with surrealism (especially in the images)? is that it?
Surrealism but also Art Brut, Mannerism and Art Nouveau are part of my references. I am also sensitive to the work of the Brazilian artist Tunga and the Mexican Frida Kahlo, whose work inspired me the title of this exhibition at ESADHaR, “Les Fruits de la terre”. What brings them together, perhaps, is this organic conception of the form in which the a priori antinomic categories of the feminine and the masculine, the vegetable, the animal and the human are merged.
Untitled – Tunga :
Fruits of the Earth – Frida Kahlo:
Your last piece for the Glassbox gallery in Paris, the preciously decorated peepshow screen called « adorable bouclier » (literally « cute shield »), what is it about, what does it protect from? What’s your link to pink?
The idea was above all to propose a piece responding to the theme of “light”. This “adorable shield” (the meaning of the screen in Chinese) has this paradoxical function of protecting our privacy but also, to reveal. Through it, it is therefore the idea of social light that I wish to question in a deliberately playful and polysemic way. From this can arise other questions: what are the practices of resistance / acceptance of the glare of the other, the customisation of a common space, separation public life / private life.