'The Place that never was', unfired clay, wood, rope, 190x60cm
       
     
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Passageway
       
     
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Persuasive Elements
       
     
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Between Space
       
     
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Botanical Propagation
       
     
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From Wall to Floor
       
     
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Piller and Floor
       
     
       
     
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På Plads
       
     
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Adapting
       
     
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Pillar
       
     
       
     
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Rosone and chair
       
     
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'The Place that never was', unfired clay, wood, rope, 190x60cm
       
     
'The Place that never was', unfired clay, wood, rope, 190x60cm

View the exhibition at www.idoart.dk/kalender/valerie-collart-the-whims-of-the-eyelid

VALÉRIE COLLART "THE WHIMS OF THE EYELID"FEAT. MEKKI-SEBASTIAN BRINK, MANUEL CANU,STINE JESPERSEN AND LOUISE DROST-HARTON at OKCORRAL, Copenhagen, Denmark

Concealment is a source of mystery, fantasy and frustration and it creates inside of us a form of desire. Desire, as a thought movement, has the capacity to give substance to what have none; what is observed becomes porous to possible becomings, and in this movement which resists to fix itself, what we are looking at does not end to close itself on its own enigma.

For her exhibition The whims of the eyelid Copenhagen based French artist Valérie Collart has invited four likeminded artists, Mekki-Sebastian Brink, Manuel Canu, Stine Jespersen and Louise Drost-Harton to exhibit along her own body of works. Through sculptures, drawings and photographs the exhibition unfolds the theme of the drape as a metaphor and a possibility for the forms to remain in that state of uncertainty. The selected works, with a common attention in the physical properties of the objects are inviting the viewer the reach out a sort of mental space, a zone of contemplation where the fragility of the object reminds us sometime of our own. Through the idea of concealment, The whims of the eyelid investigates dreams and fantasies evoked by forms, when they are not perfectly well conceived or perceived or resists our understanding. It allows us to access the most intimate dispositions of our imagination: What is a form in its uncertainty? When we think to recognize a form where there is none, it sends us back to where we try to perceive something within our own imagination.

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Passageway
       
     
Passageway

Passageway, Unfired red clay and wood, 130x120x160cm

Reform Design Biennale 2018, Munkeruphus, Denmark

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Persuasive Elements
       
     
Persuasive Elements

Installation, Unfired white clay, rope and wood, 280x60x165cm Forårsudstillingen 2018, Charlottenborg, Copenhagen, Denmark

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Between Space
       
     
Between Space

Installation, Gammelgård, Herlev, Denmark. Raw white clay, mirror, wood construction

CR_20-04-17_udstilling_07.jpg
       
     
CR_20-04-17_udstilling_12.jpg
       
     
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Botanical Propagation
       
     
Botanical Propagation

Installation, scagliola plaster hanging sculptures. CCAndratx, Mallorca, 2017. Fundedby Statens Kunstfonden and KE16, Patricia Asbæk Price.

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From Wall to Floor
       
     
From Wall to Floor

Installation, raw withe clay. Kunstners Efterårsudtellingen, KE14, 2014, Den Frie, Denmark

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Piller and Floor
       
     
Piller and Floor

Installation, raw red clay and plaster, Forårsudtelling 2015, Charlottenbørg, Denmark

       
     
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På Plads
       
     
På Plads

Installation, raw white clay. Kunsthådværker Biennale 2015, Rundetårn, Denmark

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Adapting
       
     
Adapting

Installation, raw withe clay. Basement, Denmark, 2014

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Pillar
       
     
Pillar

Installation, raw red clay and plaster, KW3, 2014 Solo Exhibition, København

       
     
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Rosone and chair
       
     
Rosone and chair

Installation, raw red and white clay, Basement, 2013, Denmark

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