INVASION
Invasions references the “1000 pools” project by architect Bernard Schoeller that used everyday landscapes to widespread acclaim. Charles Pétillon takes an interest in the distinctive architectural features that guide a project’s aesthetics and which offer an unfashionable patrimony, contrary to current trends. He talks about decay and also nostalgia and fear when confronting the weariness that what was important yesterday is no longer of any consequence today.
CO2
CO2 expresses one of the illusions of our times. Is it not the case that we seek to acquire more and more in order to be content with our image? The car is an object of desire that only reflects our need to have power over others and ourselves. Yet it is difficult to do without it as its use had become essential. This image is a metaphor for the excess of the individual in collective daily life, mirroring the scars it has left on the world.
Mutation 2
When Charles Pétillon enters into the forest, a place full of dreams and a picturesque enclosure filled with stories and magic, the presence of balloons introduces a style of writing coming from a world in Mutation. This natural space bears the scars of its heritage and ambition just like humans do.
Souvenirs de famille
The profound memories of childhood, games and naivety are conjured up in Souvenirs de famille (Family memories). Beneath the features of the family sanctuary, we reflect on the role of memory as a symptom of transmission, with which the burden of tradition and emotional ties form by their symbolic force, a challenge on collective memory.
Play Station 2
Spaces for play are discussed in Playstation, which alludes to the development of public play areas. From slides to football pitches or the bedroom symbolised by the games console, the occasionally cathartic use and obsessive and sometimes harmful hold of these games on humans is questioned here.
INVASIONS DE BALLONS
Ces invasions de ballons sont des métaphores. Elles ont pour but de changer le point de vue sur ce que nous côtoyons chaque jour sans y porter attention. C'est notre regard que j'essaie d'aviver, permettant ainsi de passer d'une perception pratique à une émotion visuelle.