Stickers’ album (Fukushima)
Kit with album, 4 envelopes with stickers, instructions
Print on paper and self-adhesive paper
Kit 18 x 27 cm
Unfolded album 68 x 24 cm
Twenty years ago, a large group of plastic ducks “escaped” from their container during a violent storm. Carried on ocean currents across the globe, these emblems of childhood quickly captured the public’s attention. So much so, in fact, that these ducks soon became popular in the contemporary art world, and, in one particularly avaricious case, a company manufactured imitations to satisfy the demands of thousands of collectors. But not all the interest was purely artistic or capitalistic. Scientists realized that, as the ducks were often found on distant and unexpected shores, they could perhaps teach us much about the complexities of ocean currents. Environmentalists, too, saw in them a conspicuous example of the permanence of all the plastic refuse we dump into the sea. For me, however, the ducks symbolize our globalized world, a world in which economy, ecology, science and art are all juxtaposed.
In this way, toys, which often have the appearance of small animals, began to invade my drawings and my paintings. Like the stories of La Fontaine, these toys allow me to tell fables about the human race.
A few months ago, I started a series with toys - more specifically my sisters’ old and damaged stuffed animals - of very small format, painted on wooden blocks that resemble the blocks we played with as children.
In parallel, I superimposed these stuffed animals into pencil drawings of various images of the Fukushima nuclear accident. Here the intention is multiple: to revive the tragic content of these images, unfortunately made commonplace by excess media coverage; to introduce the idea of the fragility of the human condition; and also to express my singular vision of the world from the only point of view bearable for me, namely innocence.