Plastic artist, established in Paris and resident at POUSH. Her installations and sculptures mix materials, colors and forms. Giving an organic aspect to marble and that of skin to silicone. These blocks of stone become soft, supple forms reminiscent of flesh (organs or sometimes even bizarre beings out of a David Cronenberg film). The silicone, on the other hand, relaxes, unfolds, attached to a stainless steel bar like a skin that a strange being would have removed, molting into a new entity. There is no longer any real distinction between humans, animals, objects, synthetic and organic materials. Dana transcends the boundaries of matter and species in a new form imbued with a strange sensuality. A kind of cold eroticism of a scientific laboratory. Dana is one of those artists who have a transdisciplinary practice where science plays a fundamental role in her research and plastic work, she is in a way an artist-researcher and her pieces are more sensitive and emotional interpretations of facts. Thus, artists and scientists mingle, collaborate to bring a new stage of understanding, going beyond common norms and visions.
How do you choose the materials you work with?
The choice of materials is an essential component of my work, and I attach great importance to mixing them together so that in a way they are all on an equal footing. Whether it is calcium powder, dehydrated pig’s blood or marble, silicone or steel. I create a hybrid world where materials and subjects interact.
For her part, Valentine chooses the materials with which she works according to their aesthetic characteristics of course but also their ecological impact. Your approach to ecology is done through observation and in a certain way the staging of the anthropocene currently at work. What is your relationship to ecology?
Most of my chosen materials are natural and durable, when it comes to stone, metal or even organic materials like blood. Then I include polymeric components such as silicone (which is derived from sand) to “freeze” the organic, in doing so I establish a “sustainable” process because it preserves the work because its materials will be preserved over time.
If in your work the color is not very present because of a rather clinical universe, close to the research laboratory, in Valentine’s collections the colors are very important, did you feel an affinity towards them?
The choice of my colors is very important despite their subtlety. The colors are often organic evoking the skin tone. This is found in my stone objects but also in the silicone skins.
Then comes the form, inherent to each material to quickly resume Aristotle. The shapes of the body, the shapes of the clothes as a second skin protecting and sublimating the silhouette. Do Valentine’s pieces inspired by the work wardrobe and the uniform seem to fulfill this double function of comfort, protection and enhancement?
What I like about Valentine’s pieces is precisely their functional aspect but also their very feminine and aesthetic side. She knows how to mix all these aspects without making any compromise. Working in an almost sculptural way, using draping for example, which is also part of my body of work.
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