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From the composite materials that Edmée Laurin uses in her artistic practice one would expect them to be without nuances, straight to the point. Their polyester, acrylic, pre-formed plastic hardness should be instantly revealed to those who look at them.
However, it is the work of an alchemist that is set before us, as she transforms flexible matters into hard ones and vice versa, reversing the first properties of resins : from the surfaces emerge foam, slime, they become liquidy and viscous.
Even though the body is only shown by fragments or delicate evocations, it sweats from all of her productions : it is the breast coming out of a cast of what seems to be a pre shaped carton packaging for round fruits, the immaculate glaze drops exuding from a dark ceramic, a foam mattress that she stratifies with resin.
The marvelous plays with the monstrous, the perl miraculously born can easily be mistaken for the cyst whose growth can not be stopped.
Look out for the flood because we won’t see it coming.


“When we think about composite materials they automatically remind us of the field of industry, with their cold, utilitarian and preformed aspect and shapes. When I work with those materials, I wear a protection suit, a breathing mask, gloves and glasses : direct contacts to the body are not allowed. However, I am looking for some material evolutions of states, to freeze some movements and organic textures in the purpose of evoking the body where its presence would not be expected. I am interested in the act of print, in the necessity to duplicate a form by casting it : my works talk simultaneously about plasticity and skin, fossil and flexibility. I am operating some transfers and magnifications: a cat on a pillow is as
big as a lying human body, breasts duplicate themselves as in the Artemia of Ephese, ceramic drops invade the wall. By their uncertain appearance and their mysterious identities I create for them an alternate reality, without denying each work’s unicity : They are like fragments of ambivalent bodies, between erotism, life and death.”


Text from and remarks in conversation with Camille Paulhan
(published in Felicità 17, catalog, Beaux-arts de Paris éditions)

February 2018



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