is inspired by the visually chaotic
used in World War 1:
Dazzle camouflage was a type of ship camouflage used during World War
I. As its name suggests, it was meant to dazzle and confuse the human
eye. In an era where radar technology did not exist, an enemy vessel’s
range and heading needed to be visually identified for targeting. The
complex black and white patterns painted on ships with dazzle camouflage
made it difficult to ascertain whether a target was moving closer or
farther away and prevented accurate firing.
The person in the room covered with dazzle camouflage uploads selfies
to social media while surrounded by a larger self representing
narcissism. In an era where much communication occurs over social media,
metrics such as likes and follows fulfill our desire for recognition;
however, the ease of which we can obtain validation from others leads to
the growth of this desire, and we attempt to satiate it using our
self-image or “larger self.” The boundary between self and self-image is
unconsciously blurred by dazzle camouflage, and as a result, we
ourselves cease to recognize our own boundaries.
Marguerite Humeau’s work stages the crossing of great distances in time and space, transitions between animal and mineral, and encounters between personal desires and natural forces. The work explores the possibility of communication between worlds and the means by which knowledge is generated in the absence of evidence or through the impossibility of reaching the object of investigation. Humeau weaves factual events into speculative narratives, therefore enabling unknown, invisible, or extinct forms of life to erupt in grandiose splendour. Combining prehistory, occult biology and science fiction in a disconcerting spectacle – the works resuscitate the past, conflate subterranean and subcutaneous, all the while updating the quest genre for the information age.
Marguerite Humeau (b. 1986, France) lives and works in London. She studied at the Design Academy Eindhoven and at the Royal College of Art, London, where she obtained her MA in Design Interactions in 2011. Her recent solo show includes FOXP2 at Palais de Tokyo, Paris. Humeau has been shown in various exhibitions in galleries and museums including Manifesta11, Zürich; TBA21 Thyssen-Bornemisza Art Contemporary, Vienna; the Serpentine Gallery, London; the Museum of Modern Art, New York, and the Hayward Gallery (Touring Programme); and is part of the permanent collection of the Museum of Modern Art, New York; and of the Fonds de Dotation famille Moulin (Lafayette Collection), Paris. Humeau is currently preparing for solo shows at Nottingham Contemporary, UK, launching in October 2016, and at C L E A R I N G New York/Brussels, New York in 2017.
Marguerite Humeau, FOXP2 (Biological Showroom), exhibition view, Palais de Tokyo, Paris, 2016. Credit: André Morin for Palais de Tokyo, Courtesy the artist, C L E A R I N G New York/Brussels, DUVE Berlin.
A Single Book Can Alter The Strongest Of Foundations
Installation artist Jorge Mendez Blakecreates a powerful brick sculpture titled “The Castle”. The intimidating wall, formidable and erect, loses its symmetry and forms a rift at the point where a book it inserted at its root.
Artist Immeserses Gown In The Dead Sea For 2 Years And It Transforms Into a Salt Crystal Masterpiece
Israeli artist Sigalit Landau decided to submerge herself into the mystery and effects of the Dead Sea. She dipped a down in the salt-rich waters in 2014, and recently removed it to be seen for display. The results are a stunning crystallized dress, which seems nothing short of surreal and straight from a fairy tale. Take a look below at the uncanny images.