scenography
immerssive installation for Perrier-Joüet, 2022
162x114cm acrylic on canvas, 2020
Inhabiting space, whether it means the space of the drawing, painting or the installation of sculpture, is at the forefront of this work. I like the notion of building for humankind, that bodies can enter and experience the spaces of the work. I like the notion of gesture, to make it present and traceable in each work. Spaces live by the presence of human experiences. Often my drawings of accumulated forms are true to scale, selections of objects we hold in our hands, into which we load our inner experiences. We accumulate these objects, in which we put so much of our innermost being, to the extent that the objects form totems that rise as meaningful, human-like figures. They fill space with their presence, while taking us elsewhere, towards a memory, a dream, a utopia – they set us free. In this work, some objects appear as simple contours, other volumes take the form of a solid, thus playing with trompe-l’oeil and digital architectural representation, occupying a space between 3-dimensional rendering and 2-dimensional drawing. The objects are detached from their primary function – they are presented as a kind of family portrait, charged as personal symbols. The house appears as a maternal figure, bringing us back to our first environment of the mother’s womb, the first prehistoric cave, a rudimentary space. This work invokes these primary habitats, almost troglodyte, but released from an architectural codification. This series of paintings show interior views of the house, intimate spaces. The domain of public space and architecture has been likened to the masculine figure in history as women were reduced to the domestic space. Virginia Woolf wrote in A Room of One’s Own (1929), ‘Women have sat indoors all these millions of years, so that by this time the very walls are permeated by their creative force.’ With our present experiences of lockdowns, the house has become a symbol of isolation as well as a source of self-reinvention. The scenes I portray appear in real proportion, yet the perspectives and volumes are oftentimes distorted to make light of the codes of architectural representation. This endows a utopic freedom of the space. These places represented do not exist, yet painting it, I believe that I am building it, I give it a reality, a materiality and in a certain way, I inhabit it.
162x114cm acrylic on canvas, 2020.
162x114cm, acrylic on canvas, 2020
81x101cm, acrylic on canvas, 2020
162x114cm acrylic on canvas, 2020.
147x114cm, acrylic on canvas, 2020
acrylic on canvas, 81x101cm, 2020.
installation Unique Design x Shanghai, 2020
A collective exhibition where the viewer is invited on a journey into a new vision of our future realm. A unique immersive event that has to be experienced from within and not observed from without.
exhibition with Franck Pellegrino at Amelie maison d’art, Paris, 2020
Architectural installation for the scenography of Vivetta’s fashion show
Le corps traverseeeeeeeeeeeee
o c c u p e
transforme
l’espace par sa présence. Corpo e Spazio est un dialogue entre le corps organique, le vêtement en mouvement et l’espace rigide construit.
construit
construit
Wallcovering collection hand painted for maison Astéré from Elitis
Carte Blanche in situ Nike flag ship Paris, 2020
wood & glass, 2019
unique design shanghai x asia now 2020
With the purpose of supporting the young creative worldwide talents, in occasion of the Milano Design Week, Martina Gamboni uses to open the doors of Strategic Footprints’ headquarter and commit a room for a site specific installation to a new designer. One of the protagonists of this edition has been Garance Vallée, a young French designer, architect and painter who took over the room, previously dedicated to the English designer duo Campbell Rey and Gupica. Garance did her Fuorisalone debut in 2018 with “Terra”, an interior design project conceived for a meeting room, focused on the connections between men and nature, in a temporal path that goes from the primordial nature to the Greek-Roman era, as symbolic reference to the relationship between past and future.
TERRA was an interpretation of the cradle of humanity and its experience of Mother Earth’ matters. The interior was fully made by hand, from painted wall, to the wood furnitures, concrete objects and carpet. The objects seem to come out of the Earth, representing unseen landscape.
landscape
landscape