6th november 2022

Dear Rebecca,

I understand when you talk about being submerged in the beauty of spring in the wild. I am particularly moved by the color of the fresh leaves, such a pure and strong green at the same time. It is a short transition, the color settles after a few days but I feel the nature vibrate of this color as a pure and strong statement of life. In the same way, watching a flower blossom as a deep feeling of victory over death, vulnerability and beauty as a weapon.

I try to keep these values close to me while I work and I feel it too in your process. With the conservation of flowers, at the collection and then at the installation where the spectator went out into this allegory where time is suspended. Likewise, my bathers are in immersion, the water envelops the entire part of the skin, gravity has no power on the body. I would like to suggest in my work the slowness with which you spoke earlier.

Sometimes in my meditations, I like to play at focusing on the contact of air on my skin as if it were covered with water. I'm trying to feel the same way about the air. Our skins are always tied to the air and as easy to it seems to me that this is the first link with the natural world. My skin and the skin of leaves, trees or bodies of water are affected by the same air, we are all bound together by this invisible element. I found a lot of peace around that idea, how much is driven by the void.

In your installations, how do you play with fullness and empty space?

Ayline