Laurence Broydé

My work revisits art forms at the intersection of craft, art and design. It reconsiders the status of the work, while exploring the questions of the environment, territories and “minority.” I develop a body of sculptural works using crochet, a practice considered feminine, artisanal, “minor” and even obsolete.

In the Sculptures à Porter (Wearable Sculptures), non-gendered transitional elements, allow for metamorphosis, setting aside questions of species and gender as well as their usual representation, in order to move beyond the nature/culture duality. As such, they constitute a form of animistic and totemic ontology, placing art and the work at the centre of social organization. This work examines the role of transitional objects such as works of art in our current societies. By being worn, the sculptures are humanized, leading us beyond anthropomorphism. The produced forms are metaphorically and physically inhabited. They activate narratives with open interpretations and produce various potentially usable objects, exploitable, and to experiment.

When they are not performed,  Sculptures à Porter are presented passively on wooden or ceramic sculptures. Displayed in places dedicated to art or in liminal sites (building entrances, corridors, etc.), they invite the public to appropriate the exhibition space as a common space, activating aesthetic processes, diverting and re-envisioning them, thereby allowing for the experimentation of new exhibition processes.