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Justine Grillet

Throughout my practice I’ve mostly been working around three topics: Theatre, Structure & Performance, explains my idea of working with different scenes from a play. To create a stage where figures can perform and dance. For this, I use theories from fictional stories that I consider as truth and applies them in my work. By playing with a non-physical world, I feel like I can question the role of a performer and the meaning of his performance. This means that creatures living in this particular world can be drawn, written down, or become a piece of sound. These non-physical creatures or monsters suggest figurative work. They do not exist in the real world but in words, memories, and stories, they are present. After this process some of them become physical beings and they’re growing into characters with a personality. 

The relationship between sound and object. This has been one of my main concerns in the last years. They can be compared to an archaeological sound archive. I record all sorts of sounds in my atelier, from ceramic rattles to banging metal. My way of working with sound is an experimental and spontaneous process. I combine the sound of handcrafted objects with the sound of electronic devices such as a synthesizer and this by implementing the device in a sculpture. It’s essential for me to see how the elements work together and how they function as an arrangement. 

‘In ‘The Book of Imaginary Beings’, Borges comments on all kinds of mythical creatures in a sly and humorous way. It is full of abstruse references and lots of fun. Something I want to keep in mind during my process. These stories can lead me to create my own creatures. According to this, drawings are and will remain an important element in my play. First of all, they are a way of thinking and processing. In addition to that, they can also be used as a tool to create a story, context or a landscape.

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