Ethel Lellouche

Close enough series
HIDDEN Bořivojova
4. 7. / 18. 9. 23

Tapestry, ceramic and hybrid materials are the way that I choose to reflect on materiality, volumes and temporality. My work is about my own singular univer between naif practice and taking root on craftsmanship. Sculpture and installation are important want i reflect and create a project.

My work represents the relation between the flexibility of textile and the rigidity of ceramics. I like the way that differentes materials can meet itch other, merge together and create a new form of materiality. The principals no- tions of my work are the confrontation betweet naif, regressive with the reflexions and the awareness of the craft- manship. In fact the temporality is very importante for me, the temporality of the childhood front of the young adult vision, the temporality of the technical, patience and introspection during the creation are my way to work. A part of my work are sometime looking for a disorder of the usefullness and the material of the work is always as important than the form. My practice is fed by references like the univer of Salvador Dalì, the choice of form and color of Niki de Saint Phalle’s sculpture, the installation of Ernesto Neto and the work of Sheila Hicks. But also Ron Nagle, Côme Clé- rino or Katie Stout are artistes who influance my way to see the color, the volume, the form and the creation of installation. My influences evolves each day.

We asked Ethel what her life has been like at the academy.

At the academy, there are dreamers, friends, no more toilet paper, lots of jokes, 19th century looms, parties, love stories, tapestry, sharing, anger, fighting for your ideas, cigarette poses, more jokes, beers, love, waking up a little too early and others a little too late, pains au chocolate in the morning and ginger tea at 3 p.m., loud music, ideas and artists.