Ellande Jaureguiberry pour le 64ème Salon de Montrouge par Sarah Ihler-Meyer, avril 2019
“Where does this freedom of the will arise in all the living creatures of earth? Where I ask, that free will we rip from fate, and thanks to which we go wherever it leads every one of us, and, as if we were atoms, allowing us to change direc- tion?” asks Lucretius in his poem On the Nature of Things. The answer can be found in “clinamen,” a slight deviation of off-course atoms that introduces coincidence into the universe and explains the formation of bodies.
The appearance of the random in a world ruled by obligation seems to irrigate Ellande Jaureguiberry’s work, whichis populated by biomorphic forms where the a priori antinomic categories of feminine and masculin, plant, animal and human are merged in a vagueness synonymous with fertility. In ceramic, earthenware, or porcelain, his sculptures and their rounded forms and pastel colors —with ropes and plastic and steel tubes coming to enter and exit them, sometimes with their hanging aluminum fingers and noses— constitute strange animistic communities or the totems of unknown cults. They hail from a creative process belonging to ritual, in which the artist enters into a sort of struggle or dance with the material, allowing the latter to guide him just as much as he directs it, as if it what was important was to follow its power of germination. Black and white drawings accompany the sculptures: textured blocks and the fragments of floating bodies against hazy backdrops, connected by lines that link up on the pedestals, the whole evoking a matrix machinery. For the Salon de Montrouge, metamorphic looking volumes perched on plastic pools compose a fountain that shoots out water, suggesting a life source carrying an infinity of worlds, things, and possible beings. If the artist sometimes speaks of the “post-apocalypse” in reference to his work, it is a joyous apocalypse, in which the end of the world affects only the one we live in.