Gogottes, Neocaridina, Cladophora Aegagrophila, neon, aquarium 11,8 x 15,7 x 15,7 inches

Prunus avium #2
Prunus avium #2

Prunus avium #2, 2020 cherrywoods bark 106,2 x 43,3 inches Unique piece

Lignum
Lignum

Lignum, 2020 cherrywoods bark installation, variable dimensions Unique piece

Aven #7
Aven #7

Aven #7, 2020 brushed aluminium print 11 x 12,5 inches, ed. 2 copies + 1 AP

Réversion
Réversion

Coréalisé avec Emma Loriaut aquariums, socles, pierres, chimies, 50 x 50 x 180 cm, 2019 Vue d'exposition, Festival Berlin Atonal 2019 © Rebecca Crawford

Réversion
Réversion

Coréalisé avec Emma Loriaut aquariums, socles, pierres, chimies, 50 x 50 x 180 cm, 2019 Vue d'exposition, Festival Berlin Atonal 2019 © Rebecca Crawford

Aoriste
Aoriste

2018, roche volcanique, dispositif sonore, 25 x 47cm

Aoriste
Aoriste

Aoriste, 2018, volcanic rock, sound device,

Chambre résiduelle
Chambre résiduelle

2018, aquarium, socle, moteur, dispositif sonore, aspirine, 30 x 30 x 120 cm

La fontaine hépatique
La fontaine hépatique

2018, végétaux panchroniques, lampes à sodium, terrariums, grillons, dspositif sonore, vue de l'exposition "L'art dans les chapelles", 2018, chapelle de Guelhouit

Accrétion
Accrétion

2017, Installation Bétonnière, ciment, sable, charbon, roches volcaniques, Vue de l'exposition "Lithique", 2017, Galerie 22,48m², Paris, France

Accrétion (series)
Accrétion (series)

Ilu, 2017, ciment, sable, encre de chine, pigments, terre, roches volcaniques

(Accrétion series)
(Accrétion series)

Damkina, 2017, concrete, sand, chinese ink, pigment, mud, volcanic rocks, diameter of 7,5 inches

Albedo 0,60
Albedo 0,60

2017, frigorific system, copper, water, chinese ink, polyethylene tub 59 inches in diameter, view from the exhibition "Mécanique des milieux continus", 2017, CAB, Grenoble, France

Albedo 0,60
Albedo 0,60

2017, frigorific system, copper, water, chinese ink, polyethylene tub 59 inches in diameter, view from the exhibition "Mécanique des milieux continus", 2017, CAB, Grenoble, France

Coriolis
Coriolis

2017, probe balloon, radio transmitter fm, radio transistors, ball light, view from the exhibition "Mécanique des milieux continus", CAB, Grenoble, France

La siouva
La siouva

La Siouva, 2017, souche, branches, 260 x 300 cm, vue de l’exposition "La Région vaporeuse", 2018, Maison des Arts, Malakoff

Cladonia
Cladonia

2017, various varieties of mosses and lichens, growth lamp, ultrasonic mist, view from the exhibition "Mécanique des milieux continus", CAB, Grenoble, France

Cladonia
Cladonia

2017, various varieties of mosses and lichens, growth lamp, ultrasonic mist, view from the exhibition "Mécanique des milieux continus", CAB, Grenoble, France

Meteors Ascendances (Aarhus)
Meteors Ascendances (Aarhus)

2016, Cyanotype, 25,6 x 19,7 inches

Meteors Ascendances
Meteors Ascendances

2016, Cyanotypes, 25,6 x 19,7 inches, view from the exhibition"Lithique", 2017, Galerie 22,48m², Paris, France

Still Alive
Still Alive

2016, limestone, drops to drops, bottles, hydrochloric acid, crystal vinegar, water, variable dimensions, view from the exhibition "Géochronie", 2017, Galerie d'exposition du Théâtre de Privas / Espace d'art contemporain, Privas, France

Still Alive
Still Alive

2016, limestone, drops to drops, bottles, hydrochloric acid, crystal vinegar, water, variable dimensions, view from the exhibition "Géochronie", 2017, Galerie d'exposition du Théâtre de Privas / Espace d'art contemporain, Privas, France

Ellipses
Ellipses

2016, audiovisual sculpture with Nicolas Montgermont sound system, videeoprojection on a ground structure, 197 x 197 inches

Particules
Particules

2015, stones, hourglass in collaboration with the Géosciences Laboratory Paris Sud, Paris, France

Particules #40
Particules #40

2015, stone, hourglass (13,7x 2,9 x 3,5 inches), wood, 31,4 x 21,6 inches

Particules
Particules

2015, stone, hourglass (13,7 x 2,9 x 3,5 inches), wood, 31,5 x 21,6 inches, in collaboration with the Géosciences Laboratory Paris Sud, Paris, France

Frangula
Frangula

2014, root, 66,9 x 90,5 cm, view from the exhibition "Substrat", Galerie 22,48 m², Paris, France

Erosion
Erosion

2014, ceramic, sound system, wood structure, 35,4 x 17,7 x 17,7 inches, sound design by Gil Savoy

Erosion
Erosion

2014, ceramic, sound system, wood structure, 35,4 x 17,7 x 17,7 inches

Erosion (detail)
Erosion (detail)

2014, ceramic, sound system, wood structure, 35,4 x 17,7 x 17,7 inches, sound design by Gil Savoy, view from the exhibition "Substrat", 2014, Galerie 22,48 m², Paris, France

Sporophore
Sporophore

Sporophore, 2014, troncs d’arbres, champignons (Amadouvier), gros sel, dispositif sonore, dimensions variables, vue de l'exposition "Eau solide", 2014, Festival de l'eau de Watwiller

Cidade
Cidade

2014, rubble, bricks, concrete, variable dimensions,view from the exhibition "Feito por Brasileiros", 2014, Cidade Matarazzo, Sao Paulo, Brasil

Radiographie
Radiographie

2012-2013, view from the exhibition "Continuum", Centre d'art Rurart, Poitiers, France

Specimen
Specimen

2013, glass cubes, sound system, water, black ink, rock structures, chemistry, aquarium 50 x 50 x 50 cm, stand 50 x 50 x 70 cm, view from the exhibition "Derashine", 2013, Galerie des Grands Bains Douches de la Plaine, Marseille, France

Concrétion
Concrétion

2012, groupe frigorifique, cuivre, humidité ambiante, 50 x 20 cm, exhibition view "On ne voit pas passer le temps", 2012, Eglise Saint-Maur de Courmelois, Val-de-Vesle, France

Sablier
Sablier

2012, refrigeration system, 27,5 x 11,8 inches, 23,6 x 15,7 inches, view from the exhibition "Subfaciem", Palais de Tokyo, Paris, France

Sillage
Sillage

2012, in collaboration with Nicolas Montgermont, Seismic datas (Chile, 15h12 12/03/2008, 18''), wood, chinese ink, sound system, 118,1 x 70,9 x 7,8 inches, view from the exhibition "Continuum", Centre d'art Rurart, Poitiers, France

L'envers
L'envers

2010-2012, Acer Negundo Aureomarginatum (Maple), variable dimensions, view from the exhibition "Subfaciem", Module, Palais de Tokyo, Paris

Canopée
Canopée

2011, roof tiles, construction frame, windows, antenna, fireplace, floor lamp, trees, sound device, variable dimensions, produced by "L'Usine Utopic", view from the exhibition "Usine Utopik", Centre d'art contemporain, Tessy-sur-vire, France

1/1

Composed of sounds, images, and objects in varied and close relations, Cecile Beau's installations are driven by the play of contradictory vanishing points. Here, the visible and the invisible mix. The pure and the impure intersect. Perception's radars are dazed, dazzled by enigmatic and timeless murmurs. These are forests, rivers, horizons, and hazes that breathe as in the earliest hours of the day. These are factories, machines, mechanisms, illusions, and extracts, all testifying to a quasi-clinical interest in things. The blade of her scalpel slices open sensorial perspectives beneath a steady light and with a depth of field that is hallucinatory to say the least. 

And with a certain modesty, but not without a touch of malice, she seems to be trying to conceal her toolbox-full, one imagines, of digital and electronic devices. She buries these instruments under tree roots and beach pebbles, in cloud vapor, and dresses them up in organic and inorganic matter that has been distilled, diverted, decontextualized. The organic materials soon take on an air of mystery within the empty spaces that welcome them. Their austerity becomes necessary. Her work is stripped of human presence, saturated with air, water, and mineral, until only the viewer's body remains truly discernible, now elevated to the rank of protagonist, invited to get lost among a network of felted and muffled stimuli. The real world can be detected-but just barely-through weave of sound samples. The sounds themselves are perfectly ordinary, but the process of amplification, dissimulation, spatialization, and infiltration completely transforms them.

Unlike many contemporary installations, there's no question here of playing with different ways to immerse or envelope the viewer. The visual and acoustic phenomena, once worked over by Cecile Beau, remain distanced, like the beings in a microscopic biotope that we've never even dreamed of. The perceptive tool follows them like an autofocus, making ever-finer distinctions, scrutinizing the inaudible. The eyes open. The eardrums relax. Cecile Beau takes a variety of approaches in gathering her materials, including collecting, recording, and splicing. She scours reality for her supply of fragments, which she then selects, positions, connects, and juxtaposes until she achieves the strange hybrids that she offers to her viewers. The resulting spaces sparkle with the emptiness they contain. The sounds call out across the silence that enfolds them. Unreal, almost mutant, her atmospheres function as containers, trapping the investigating consciousness. Here time and space collide, as in film, in which fluid sequences are brusquely solidified and precipitated into materiality.

Cecile Beau's works appear less as spectacles created by internal theatricality and decorative effects than as experience, defined as a personal putting-to-the-test of a thing, a material, a structure, or a phenomenon. Each new series, each new project sets off in a different direction from its antecedents, yet nonetheless remains connected to them by a kind of resonance. In a certain way, they all enjoy a privileged relationship with contemplation, revealed in the rhythm that they communicate to those who confront them. Though this contemplation takes on incredibly various forms and instances, it almost always requires the patience and the availability of the body, which sets up an oscillation between inside and outside. The rustling confusion of ideas, memories, and desires hurtles up against presence and the sensory apparati of objects and phenomena. The senses open and close. Memory whispers unprecedented impressions. The intellect hums as words link up with gestures. The viewer's amnesia begins swaying like a backwash, or a tide that, in pulling back, finally lets one glimpse enigmatic traces. 

 

Emile Soulier, translated by Cole Swensen