Camille Lavaud & Olof Nimar
1. – 3. December, 2017
Traces of histories are deposited as layers upon layers. What is it we are actually seeing, when we observe something, that which lies beyond our expectations? Camille Lavaud’s and Olof Nimar’s practices both document themselves as histories but also subsequently dissolves this history making new efforts to remember anew. As an audience we both grasp and lose an authenticity, it slips through our fingers. The past is materialized in the work all the while it appears to invite a certain anticipated future.
Olof Nimar’s series of photographs Bouquet (2017) shows tulips in Claude Monet’s garden in Giverny, France. A garden which was planned and constructed exclusively according to Montet’s fancy in regards to color, light and form. The water for the dam was taken from a nearby village and thus was deprived from the villagers who needed it for washing and for their livestock. The artificial is blended with the authentic and biological in the garden as well as in Nimar’s images.
Camille Lavaud’s sculptures feature outlines that remain after everything else has disappeared. They are attempts at capturing something elusive, a feeling or a mood. Perhaps this is an alternative strategy for perception, to observe that which is absent. The work consists of material that no longer retains its original function, but which instead carries traces of an ambiance and by virtue of this becomes something else.
-Julia Björnberg, November 2017