Non classé – Marianne Pascal

MP lives and works in the Paris area. She studied architecture in France and the United States.

In 2008, her artistic soul took over architecture, and in the same move, she left Paris to settle in the countryside.
Her art is multi-disciplinary, using all media: drawing, photography, video, writing and sculpture, with a predilection for the play of light.
Using found and discarded objects, artifacts from the past, and in the spirit of play, she creates works that highlight her desire for exploration, her fragility, and her vision of the world as a poetic reaction to a dehumanized, technological society far removed from nature.

The objects produced are often animated and practicable. They are accompanied by photos, videos and soundtracks featuring the sounds and images of nature. Viewers can immerse themselves in her installations.
She has written an essay on art, “S’accrocher au monde”, published in March 2021 by L’art-dit, and an essay on the unconscious, “l’inconscient(e)”, published in September 2022 by Stilus. A third book on nature is in progress.

Portrait de Marianne Pascal

Mobile phone: +33 635 2117 84

Mail: MP[a]mariannepascal.com

Workshop: click here

Rockets

2009 — 2024

(Sculptures, installations, photos, videos.) – Space, exploration, high technology, childhood dreams, wars.
The rockets accompany us in the past and the unknown.

The weight of memories

2015 — 2017

(Objects, sounds, installation) – Symbols of travel and of time passing, metaphor for all that one “lugs” with oneself, suitcases are here laid on the ground, as if in a station hall.
Each one of them is associated with the photo of a landmark place and is connected to a “dashboard” from which one revives the photo as in the flash of a memory.

cars

2021 — 2024

Inner projections [the blue room]

(1980) — 2019

(paintings, sculptures and video) – From the bedroom wallpaper the arrows release themselves.

TV room

2014

(6 Vidéos, mirrors, cathode ray tubes TVs and dvd’s players) – Between the wall of televisions and that of mirrors, we find ourselves trapped by the fascination of screens. The video broadcasts remind us metaphorically of its limit, and utilize to put us in the abyss, the aesthetics of “snow”, in which we know that a few photons from the fossil radiation of the big bang still remain.

The Egg

2014 — 2015

(Sculpture, photo)
A decompression sphere, a place for video viewing, and for protection.
From the outside, one cannot guess that a door is present, so one can lock her/himself in and disappear quietly from the surface of the earth.