oeuvre-kristin Archives - MementoGram.Art

SOS SABIR

2021, Woven Art Centre d’art actuel

Le Sabir était un langage véhiculaire parlé autour de la Méditerranée il y a des siècles. C’était un moyen pour les peuples de communiquer, un bien commun, témoin d’une compréhension et d’une cohésion entre des cultures différentes.

De ce souvenir est né « SOS Sabir ».

Œuvres Exposées

Pour moi, l’amphore est l’emblème de cet esprit de tolérance et de respect aujourd’hui oublié. Dans mes œuvres elle prend forme grâce à des centaines de coiffes de bouteilles de vin cousues entre elles. Les lignes de couture sillonnent comme les routes de navigation qui reliaient les peuples de la Méditerranée et d’Afrique.

Mon travail milite en faveur du libre mouvement des personnes d’une région à une autre, de l’échange de diverses cultures pour une meilleure et plus forte humanité.

Commander le livre SOS SABIR

SOS SABIR

2021, Woven Art Centre d'art actuelLe Sabir était un langage véhiculaire parlé autour de la Méditerranée il y a des siècles. C’était un moyen pour les peuples de communiquer, un bien commun, témoin d'une compréhension et d’une cohésion entre des cultures différentes....

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Tubman’s 20/20

(Harriet Tubman's $20 bill) Bradbury Art Museum, Jonesburo 2020Installation consisting of one double-sided bill and a wad of 36 small bills. Technique: Intaglio and dry-point etching on 11 plates: steel, copper and acetate. Sugar lift, hard and soft ground, printed on...

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Tikkun Olam, 2016

Open Access Law Firm Little Rock, US, 2016 Created for the law office, this piece made of recycled cereal bags (HDPE) and Korean mulberry paper, or Hanji, that have been printed using intaglio (copper plate) and screen techniques. The collage of these, Japanese and...

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Happening Calamar

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Tubman’s 20/20

(Harriet Tubman’s $20 bill)

Bradbury Art Museum, Jonesburo 2020

Installation consisting of one double-sided bill and a wad of 36 small bills. Technique: Intaglio and dry-point etching on 11 plates: steel, copper and acetate. Sugar lift, hard and soft ground, printed on Zerkall Artrag 300 gr. Limited edition of four installations.

Dimensions: height 42 ½” x width 19 ¼” (108 cm x 49 cm)
Small bills cut from large print: 7 1/16” x 3 1/8” (18 cm x 8 cm)

This is one version, my version, of the twenty-dollar bill honouring Mrs. Harriet Tubman. The design of the real bill, the project carried out by the US Treasury Department, was to be unveiled to the public in 2020. The Trump administration halted the project when he was in office. I hope that the image chosen for the final version of the bill will portray her with the full dignity that she deserves.

More about the unreleased conceptual design of a new $20 note

Tubman as visionary

Harriet Tubman was a visionary. She had the 20/20 vision that is unfortunately still necessary today.
The piece portrays scars upon scars – scarred skin, scarred earth, scarred society. The forest is a haven and an ally. Broken chains, crushed barbed wire, Northern stars, maps, bullets, teeth, tracks.
I used a blue ink for the night of the forest which I made with an indigo pigment grown in my village in France. The red was evident to scream out the words IN SHE WE TRUST. A COUNTRY TO BREATHE IN.
When I pulled the print, I could see the Union colors but this was not at all pre-meditated. The making of the entire piece was a visceral process for me and something that I felt I owed to her since my childhood.

Installation at Bradbury Art Museum

Tubman’s 20/20. Installation

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Happening Calamar

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Catalogue des œuvres disponibles à la vente en ligne

Tikkun Olam, 2016

Open Access Law Firm

Little Rock, US, 2016

Created for the law office, this piece made of recycled cereal bags (HDPE) and Korean mulberry paper, or Hanji, that have been printed using intaglio (copper plate) and screen techniques. The collage of these, Japanese and found papers was achieved through sewing with silver and transparent threads on a Singer machine in Arkansas.

On-site installation

In the spirit of the kind of law services provided at Open Access Law, the work is named after an ancient rabbinic concept of Repairing the World, of seeking social justice. The large dimension scroll format, breaking with traditional framing methods, reinforces the underpinning concepts of the piece. The imagery evokes female figures of strength marching forward, barbed wire transformed from something limiting and hurtful to emboldened spirit banners hailing beauty and power, doorways as frameworks that provide structure for justice and law.