Marjolaine Bourdua
© 2013 Marjolaine Bourdua

Crédits photographiques: David Jacques, Jocelyn Riendeau, Marjolaine Bourdua.

Artist Statement

My artistic practice is related to the sound medium and deployed through a strategy of appropriation of "pop" culture. It takes the forms of installation, sound composition, listening situation, sculpture, drawing as well as a curatorial practice.

My endeavors have led me to develop a conceptual approach to sound that is anchored in visual arts through the construction of objets. Indeed, I explore a vocabulary where formal analogies and perceptual games allow me to engage with certain subjects such as the spectacular and the anti-spectacular, the lure, the simulation and the void. For example, the followings are, amoung others, elements that feed my formal and conceptual explorations: contrast between vivid and desaturated colours, the fullness and the emptiness of the shapes, the links between certain materials that relate to the body and sound (commercial carpeting, acoustic panels, felt, etc.). By exploiting an esthetic that is all at once, precise, minimalist and crude, my artistic propositions often display an attractive appearance while entertaining a conspicuous yet latent behind the scene feel. It is through a "pop" filter that I elaborate a universe where elements not only points real references but also leave a large gap for charged yet empty spaces. Often, the sculptural volumes I construct oscillate between abstraction and figuration. In main instances, I have built stages which can easily be read as purely abstract forms. The same goes for drawings and banners which, by their composition, fill the image while leaving empty spaces that act as receptacles for additional content. It is through the exploration of such paradoxes and attractive elements with a stereotypical character that I propose a reversible, anti-spectacular experience.

The whole of my sound work abouds with such strategies. With these heterogeneous compositions, where phonography, sound samples, sound effects, textual and vocal experiments, I elaborate a vocabulary that finds its essence in popular music and the universe of radio. Therefore, the sound and musical patterns, silences, asides allow for games where rupture and depth make the listening experience more complex that goes beyond the superficial character of the musical references. The appropriation of "pop" elements (attractive colours and shapes, reference to well-known or recognizable melodies, elements related to performances and the stage) permeate the whole of my work. Thus, my intention is to create, by means of an experimentation on langage, a staged experience laced with hints of simulacrum.