An installation of repetition [repetition, repetition]
Words: Tous Mag | Image Credits: © Sarah Philouze |
Sarah Philouze is a french installation artist now based in Williamsburg, New-York. Inspired by the numerous fractal and repeating patterns found in nature, she explores the concepts of essence and repetition. Using moulding and casting techniques to create thousands of declinations of a unique module, Philouze will then experiment with size, shade and material. The intricately placed casts of everyday objects create an end result that’s - certainly far from ordinary - breath-taking on scale let alone detail. With every fragment strategically hand positioned it’s evident that, for Sarah, it’s as much about the process - and flow - of her artistry as it is the finished piece.
Interpretation is important for any artist and with anything that’s so abstract in nature there’s bound to be various approaches to its meaning. We love Philouze’s intention to confuse the audience, as discussed below, as her work makes for an interesting conversation personal to each individual. Perhaps her installations are a comment on the importance of nature, representing an army of organic specimens such as cacti, mushrooms and crystals, standing as a united collective and, a very literal, force of nature. Or, perhaps her work is a statement on over consumption, with the process of making replicas of one thing speaking to the commercial industry’s manufacturing capabilities. Maybe it’s none of those things but one thing we know for sure is that Sarah Philouze’s impressive art installations embody endurance, patience and passion: qualities that are inspiring to witness.
Read the full interview, below!
Tous Mag: Where are you based and what do you love most about your creative space?
Sarah Philouze: My studio is in South Williamsburg, Brooklyn, NY. It’s not far from my home and I was really lucky to find this available unit a year ago. I now start my working day by biking 15 minutes from my home to the studio, and I absolutely love my new commute! But what I love the most is that my studio is full of light, especially in the morning, the light is amazing.
Tous Mag: A bike to work sure sounds ideal. Are you surrounded by creativity?
Sarah Philouze: The area is really eclectic and my building is like an anthill. The last open studios was a success. It brought us a ton of visitors and it enabled me to realise the diversity of all practices and skills. Everybody in our community is really friendly and respectful. The current crisis brought us closer. We communicated and supported each other a lot, and I hope that this will make us work together more often.
Tous Mag: We think it’s important to have a sense of community! Could you explain to our readers what your main practice is and the inspiration behind your art?
Sarah Philouze: I do art installations and set design. I have my personal practice and I frequently collaborate with brands in need of original and carefully crafted decor for their special events. I define myself as a designer, a craftsman and an artist. I don’t really fit into a box. I think too often people set boundaries between “creatives” and “makers”, while I have both sides in me and I need them both to transform ideas into reality.
My inspiration comes from my obsession with all kinds of fractals and repeating patterns found in nature. I have a large collection of random “elements” I collected. When I find “a shape” to mould I really take time to observe all the details to understand how it’s composed, like if my eyes were a magnifying glass. It fascinates me. I’m really sensitive to large scale art pieces and land art (Andy Goldsworthy, Nils Udo, Olafur Eliasson, Richard Serra, the designer Mathieu Lehanneur....). When I see one of their pieces in a show it’s always a sensorial experience that moves me deeply.
Tous Mag: That’s an interesting point about the intertwining of makers and creatives. What do you think encouraged you to explore these sides of you?
Sarah Philouze: I went to a boarding art school when I was 15 years old. It was really intense but a wonderful experience. Then I moved to Paris to study at one of the top four design universities in France. It was really like Hogwarts: when applying, each university had a specific field and they “chose” students depending on their sensibilities.
However, my parents are my best teachers. My dad is a carpenter, I learned everything I know about wood from him. His workshop is in the back of our garden. My mom always paints, sculpts, sews, embroiders etc. She knows so many crafts techniques and taught me everything with passion. My parents renovated two houses by themselves. It’s a family thing! We are all makers and live to make everything handmade.
Tous Mag: Are there any techniques you play with in terms of process or the viewers interpretation?
Sarah Philouze: I use moulding and casting techniques to create thousands of declinations of a unique module, generally an organic element I collected. I experiment with size, shade and material. Then I reassemble with varying density on large-scale wall displays in order to form abstract shapes. I like to explore the concepts of essence and repetition. The heavily textured pieces draw the viewer to come close to see each module in its uniqueness, and then to step back to take it in as a whole. I play with this “double reading”. I like how people always have a different interpretation seeing a piece from far. For example they might say: “it looks like a jellyfish”, while I actually made the piece with mushrooms. I see my pieces like imaginary landscapes and cartographies.
Tous Mag: How do you decide on the materials you use for each installation?
Sarah Philouze: I like to confuse the viewer by mixing and tying together different shapes, colours and materials. When I make the moulds and the casting, my work process never changes. It’s really precise and scientific. Choosing the colours and materials is the opposite. It’s like an experimental laboratory. I spend a lot of time exploring all kinds of materials, textures, appearances and different ways to colour them. I intentionally make the identification of the original material blurry. Using silicone moulds, I can cast concrete, plaster, resin, wax, soap, sugar, and even some low temperature melting metal. When I finally associate a colour to a shape, I create gradients by adding more or less pigments to my original material, and see what happens. What I like the most about this step is the experimental side of it and the randomised nature of the result.
Tous Mag: What would you say has been your biggest achievement or most defining moment?
Sarah Philouze: The end of an installation is always the moment I’m the most proud of. Until the end of the installation, I’m so focused on each detail that it is impossible to visualise the whole piece. When I can finally take a step back, it’s always a very special moment: on one side I’m proud, but on the other the piece doesn’t belong to me anymore. It belongs to the space where it’s displayed, to the audience and it’s left to their interpretation. When I spend days or months working on a single piece, there are details that only I can see. And it’s always a mixed feeling to decide when it’s finished, and ready to be shown.
One of my biggest achievements is a project I did for a cosmetic brand in Tokyo in 2016. I did everything handmade in my studio in Paris and shipped it to Japan. I landed in Tokyo the day after it was installed. It was the first time that I didn’t install one of my pieces myself. When I arrived at the store and saw my piece, it was completely surreal to see my work set up on the biggest avenue of Tokyo. My heart was filled with pride.
Tous Mag: That’s a lovely sentiment, the idea that you’re handing your art over to its new home. What will be your next focus?
Sarah Philouze: There’s one big ambition that I’m working towards: to exhibit my personal work more often. If my professional work is always publicly displayed, I have been too shy regarding my personal work. Moving to NYC three years ago gave me more self-confidence. I feel people in the US are very positive and supportive, so now my art and personal work is my top priority. It is time to show it!
Tous Mag: We’re sure it’ll be greatly received! Speaking of what’s personal to you, what you do in your spare time?
Sarah Philouze: I’m honestly always making something or thinking about making something! However, my biggest hobby is travelling and hiking. Every year, I go on a trip with the same friend. It’s a very long friendship that we have and the only person I could travel with. We share the exact same way to discover unknown territories. Every trip is an incredible source of inspiration. I always find peculiar objects to bring back home, and add to my collection.
Tous Mag: Lastly, what would we find you listening to in your studio?
Sarah Philouze: It depends on the creation stage I am at. When I’m conceptualising, I like the silence or soft classical music. When I’m in the making phase, my work is very repetitive and I can do the same gestures over and over again for weeks. At some point, I enter in autopilot mode, my brain kind of disconnects, and podcasts are the best to listen to. Very often, I remember exactly what I was listening to when I was making a specific piece.
