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Marine Chaleron, DNSEP Art 2023 / photo Marielys Lorthios

The Henry Moisand High School, Ceramics section, is certified EMA (Excellence in Arts and Crafts). As such, it benefits from support from the rectorate of the Dijon Academy and the DRAC Bourgogne-Franche-Comté for organizing an artist residency. Each year, a call for applications is directed to graduates of ENSAD Dijon from the current year and the two preceding years.

This residency program aims to contribute to the cultural openness of high school students, participate in their academic success by valuing their creativity, applied skills, and the relevance of their artistic practices. It also aims to support the professional integration of young artists, graduates of ENSAD Dijon, by promoting their artistic projects and providing production tools.

Jury

Amel Nafti, Director of ENSAD Dijon
Simon Freschard, Head of Communication and Partnerships at ENSAD Dijon
Bénédicte Vernet, Principal of Henry Moisand High School
Corinne Choukroun, Teacher at Henry Moisand High School
Valérie Josserand, Teacher at Henry Moisand High School
Rémy Fenzy, Advisor for Visual Arts, Direction régionale des affaires culturelles de Bourgogne-Franche-Comté
Yannick Caurel, Advisor for Artistic and Cultural Education, Direction régionale des affaires culturelles de Bourgogne-Franche-Comté

Marine Chaleron

“Recently graduated from ENSAD Dijon, I am a young visual artist.

My artistic practice revolves mainly around ceramics, including sculptures, paintings, and photographs.

I am engaged in a process of repeating gestures, exhausting forms, and either radicalizing or, conversely, complexifying them.

In a multidisciplinary approach, I intertwine the story of a moving flesh, the earth, through different layers. Experimentation, incunabula, deformities… These are organic fragments traced and engraved that depict power dynamics, gesturality, the living, language, artifacts of a time, or even a shared memory. A dreamlike vision of a biomorphic microcosm linking nature, humanity, earth, and flesh.

My research is intrinsically tied to rurality, the formless, strangeness, balance, and the soft. The idea of ‘mu’, the materiality of a body, to twist, bend, and create new surfaces. I enjoy playing with architecture, proposing my pieces on walls or directly on the floor, and occupying corners. Working with metal, bending, welding, arching to incorporate it into my sculptures to highlight the faces of my pieces that are usually hidden. I want to offer a different vision of ceramics. Deformation, waste, recycling, and changing the functions of what is considered failed. These are hybridizations of cultures, know-how, and a cartography of achievements aimed at pushing the limits of a medium, revealing it. Recently, I have returned to painting on ceramics, connecting elements of life in the realm of the infraordinary. In corners, while wandering through unknown lands, I wanted to elevate moments, objects, and actions that are invisible if one does not pay attention. To show the back of a beautiful surface...“

Her project for the residency

“During my various travels and encounters, I began to accumulate many photos, some not really successful, and others lacking real meaning. The common thread among them was to testify to my passage, to keep a trace, a memory of those moments, but also to make visible the invisible aspects of both human behavior and the environment.

In the corners of these photographs—streets, landscapes, people—I began to take an interest in waste, discarded or vacant objects. I would like to give students the opportunity to create scenes of contemporary life, similar to those in ancient Greece with their pottery depicting daily life, the intimate… The idea would be to rummage through photographic or family archives, from that old phone lost in a drawer containing snapshots of our adolescence to dusty albums.

To delve back through our childhood, our eyes, and the eyes of our loved ones, to linger on a Christmas, a celebration, vacations, a performance, dinner, a birthday… To explore the corners of decor, anecdotes, or other acts that seem mundane but that we took the time to capture. These moments that are dear to us. To dive back through these vector matrices of different times and eras. To create something that transcends generations. All these photographs can become a goldmine for creating a multi-act play, a sort of family portrait, or a self-portrait.

Initially, there will be research into the content: what do I want to represent? A typical space of the beloved uncle or the underside of a classroom table where I stuck a piece of chewing gum in 2012? … To focus more on the mundane that surrounds us and compose with it.

Secondly, there will be the question of form. Why not, while revisiting the archives, ask the present people what these events symbolize? What form would come to mind during this nostalgia, what objects? To gather different minds and create one’s own album, to elevate each form, identity, and action within. To paint on ceramics contemporary tableaux of habits, gestures, or customs. To immortalize different scenes, objects, and unknowns from one’s experiences and those of one’s surroundings.”