Lifes of Grass

ماتيلد روسيل
玛蒂尔德罗素
Матильда Руссель

source: highlike

Work: Mathilde Roussel’s work is a sensible and symbolic research about the nature of physical life. She is interested in the cyclic metamorphoses that transform organic matter, whether vegetable, animal or human. Through her sculptures, installations or drawings, Roussel interrogates the ways in which time weighs on our body, leaving its traces as an imprint and thus creating an invisible archive of our emotions, a mute history of our existence. Skin becomes paper while our cells transform into graphite particles and our muscular tissues in thin membrane of flayed rubber. Her work becomes a mapping of the body, an anatomy of our fragile presence in the world. Veronica Kavass, September 2012 Why do a number of Mathilde Roussel’s works exist in mid-air? The suspension of sewn handkerchiefs to represent memory, the wheatgrass sculptures that represent the growth and decay of life. Invisible strings restrict the gravitational pull, but when the materials are heavy such as with Lives of Grass, with bits of the human body falling to the spotless gallery floor, the viewer becomes increasingly aware of gravity. Of gravity, of time, of existence, of limitation, of frailty. In all of her works, the artist depicts the restraints of possibility in the cycle of life: we are bound to this earth, this body, these patterns. Within that haunting reminder, the viewer wants to follow Roussel into the investigation of what makes this existence, for one, beautiful. Her work is not only about what is happening in the very instance that you see it, but about its history, the fading existence of the lives, memories, and energy that preceded the moment you are in. By floating her sculptures in mid-air or far enough away from the wall to cast shadows, Roussel is pausing life in order to observe it more closely. Through meditative stillness, she addresses transition. By March of 2012, Roussel had developed a steady relationship with her Lives of Grass sculptures that had initially brought her to Nashville (where I was introduced to her work). She knew how the gardeners would need to take care of them, what the potential dangers were in their constant state of suspension, the structural integrity of the armatures that were designed to decompose and, of course, when they would die. She had studied her “grass people” (as Americans like to call them) in various locations and had found a certain comfortability in distancing herself from them in that way creators do from their creations. In her investigation of the cyclical, Roussel constantly moves forward, but not without taking the time to focus on the details that propel her subject matter. By the time she had arrived in Nashville for her residency, she had just completed her first Carbon series which consisted of paper covered in graphite, intricately cut to resemble the anatomical and botanical drawings she has been poring over for years in researching the basis of her work. Hanging against a white wall, appearing as though they’d fall into piles of soot, they represented the steady variable that unites all of her work. Recognizing the overarching principles and the scientific lexicon leads the viewer into another investigation: why does this artist strive to create a universal understanding of life and death in her work? Roussel certainly addresses fragility (of material, of life) in a manner that tugs at the curtain veiling “the invisible archive of our emotions”. In reviewing earlier works such as Floating Memory and Empreinte, when the artist used personal materials containing the tangible fabric of her own history, we find the root of her investigation. Throughout its evolution from this point, Roussel’s work gracefully steps away from the reconstruction of personal memory to observe the patterns that govern all of life. The starting point belongs to her, while the end belongs to everyone, insofar as we know that neither the beginning nor the end will ever be fixed.
Photographer: Matthieu Raffard
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source: mathilderoussel

Mathilde Roussel is a French artist based in Paris. Her work is a sensible and symbolic research about the nature of physical life. She is interested in the cyclic metamorphoses that transform organic matter, whether vegetable, animal or human. Furthermore, Roussel interrogates the ways in which time weighs on our body, leaving its traces as an imprint and thus creating an invisible archive of our emotions, a mute history of our existence. To do this, she uses a diversity of materials from paper to fabric, from rubber to graphite. For some of her ephemeral sculptures she uses organic matter such as wheat grass, pollen, sap or milk. Her work becomes a mapping of the body, an anatomy of the time and space inhabited by our fragile presence in the world.
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source: afflante

The natural world, ingested as food becomes a component of human being. Through these anthropomorphic and organic sculptures made of soil and wheat grass seeds, I strive to show that food, it’s origin, it’s transport, has an impact on us beyond it’s taste. The power inside it affects every organ of our body. Observing nature and being aware of what and how we eat makes us more sensitive to food cycles in the world – of abundance, of famine – and allows us to be physically, intellectually and spiritually connected to a global reality.
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source: ceegee

Mathilde Roussel est une artiste française travaillant à Paris. Son travail “questionne la nature humaine dans ce qu’elle a de plus imperceptible”. Chacune de ses œuvres dévoile en effet des évolutions, mutations souvent discrètes qui s’opèrent pourtant en chacun de nous. Pour ce faire, ses installations reposent le plus souvent sur des matériaux et idées très simples mais néanmoins frappantes..
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source: newstutby

Скульптор и художник Матильда Руссель-Жиради (Mathilde Roussel-Giraudy), чьи работы сейчас представлены на выставке в Нью-Йорке, удивила публику растущими скульптурами.

Скульптуры состоят из почвы, металлических каркасов и семян пшеницы.

Ее работы меняются день за днем, поэтому многие посещают выставку не один раз.

Коллекция называется “ça pousse!” (“оно растет!”). Эти произведения созданы с целью заставить людей осмотрительнее относиться к выбору того, что попадает в их организмы, и показать, как наши предпочтения в питании воздействуют на окружающий мир. Одним словом, “мы – это то, что мы едим”.

“Наблюдение за природой и сознательное отношение к тому, что и как мы едим, заставит нас стать более чувствительными к круговороту еды в мире: изобилию, голоду”, – считает Матильда Руссель-Жиради.

Хотя она и родилась в Париже, детство Матильды прошло в сельской местности. Именно здесь она осознала, что природа требует бережного отношения к себе. По словам автора, все ее творчество направлено на “повышение понимания ключевой роли, которую играет природа в жизни каждого из нас”.

В настоящее время Матильда Руссель-Жиради живет и работает в Нью-Йорке.
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source: fanli6000blog163

玛蒂尔德罗素（玛蒂尔德罗素）的生活和工作在法国首都巴黎。具有讽刺意味的是，她的大部分展览举行不在家和在海外北美。还举行了首展。虽然他的职业生涯的第一个，明德得到普及，由于摄影。她现在已经完全切换到雕塑。和雕塑制作技术是第一，它描绘了一幅图片，然后创建一个从废物循环再造，组织，和植物种子的雕塑。作者自己说，雕塑的现场复制的图片或实物，如果你愿意，改造版本。后的“植物”雕塑的作者，你会看到一些其他材料的工作。
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source: wowlavie

巴黎設計師mathilde roussel構想出一個滿是生氣青草的裝置雕塑–《lives of grass》，以人形長出草隱喻身體或心理不斷的成長改變，使用鋼筋等結構填充土壤及小麥種子，讓時間透過腐朽自然雕塑出它的樣貌，整個裝置參考埃及神話中名為Osiris的神祇，祂是復活的神祇，代表了復活後生命復甦，大地重回新綠的意涵：死亡與重生，乾涸與生生不息。

mathilde roussel認為需要多觀察自然，注意該吃什麼，無論豐足或飢荒，使我們對這世界上的飲食循環問題更敏感，讓我們生理，智力及心靈上都能與真實的世界更多連結。
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source: i-refde

Osiris ist der ägyptische Gott des Jenseits, der Wiedergeburt und des Nils und außerdem die Hauptinspiration für Mathilde Roussels Projekt “Lives of Grass”. Die lebendigen Skulpturen der Pariser Künstlerin sollen mit ihren Phasen des Wachstums und Verfalls als eine Metapher für die fortschreitenden Veränderungen des menschlichen Körpers dienen.

Die Organismen aus Erde, recyceltem Materialen und Samenkörnern spielen auf die Rolle unserer Ernährung für die Erhaltung unseres Körpers und der Erde an. Denn so wie die Samen aus dem inneren der Erdmenschen ihre Körper vollkommen verändern, so beinflusst uns auch alles was wir zu uns nehmen.
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source: the-youthquake

Mathilde Roussel es una artista plástica de origen francés y uno de sus trabajos más reconocidos a nivel mundial es el llamado “Live of Grass”, esta es una peculiar instalación que va creciendo con el tiempo y que lleva detrás un concepto bastante interesante: “El tiempo esculpe las formas, las hace cambiar y las hace decaer”. Este trabajo se ha exhibido alrededor de todo el mundo, incluyendo el Crossing Line FIAF Festival. La instalación como pueden observar está hecha en base a tierra 100% fértil además de almácigo de césped.

Aquí la declaración de la artista:

Las esculturas humanas de The Live of Grass muestran el efecto de la transformación de un material como metáfora de la transformación del cuerpo. El tiempo esculpe a las formas, las hace cambiar y luego decaer. En la mitología egipcia, Osiris es el Dios de la renovación, el que siempre regresa a la vida. También el es la personificación de la tierra fértil y del ciclo natural: muerte y renacimiento, sequía y fertilidad. El mundo natural, ingiere y la comida se vuelve un componente para el ser humano. A través de estas antropomórficas y orgánicas esculturas hechas de tierra y semillas de pasto de trigo. Trato de mostrar que la comida, es origen, es transformada, tiene un impacto en nosotros, más allá del sabor. El poder dentro de este afecta cada órgano de nuestro cuerpo. Observar la naturaleza y estar al tanto de que y como comemos, nos hace más sensibles a los ciclos de comida en el mundo – de abundancia, de hambre – y nos permite estar física, intelectual y espiritualmente conectados a una realidad global.
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source: mrchokoladeblogspot

Alcune persone fanno crescere l’erba nel loro giardino di casa, altre come Mathilde Roussel la fanno crescere sul corpo umano. “Lives of Grass sculptures” mostra gli effetti di trasformazione della materia
come metafora della trasformazione del corpo.
Queste sculture uniche sono realizzate con metallo riciclato, terra e semi di erba di grano.
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source: design-ketchup

パリを中心に活躍する Mathilde Roussel の作品。
彼女は人間の心象風景のかたち、色、面を見つめたいとのことです。
何気なく描く絵がこのような空間作品へと繋がるそうです。
何か思慮しているようなポージングもそのような制作過程から自然と生まれていくということですかね。
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source: strano66blogspot

Tujuan mereka adalah kembali mengingatkan kita tentang hubungan yang saling membutuhkan antara kita dengan alam. Karena alam tidak akan pernah merugikan kita jika kita pun sebagai manusia peduli dan menjaga mereka dengan penuh cinta.