Full of merit, yet poetically,
man dwells on this earth.
Friedrich Hölderlin, In Lovely Blue
The Sign and the Skin explores the transcendent dimension which governs territory plannings, looking for a sense of place and its tacit displays in the landscape.
The sign is a map and its scale, a kind of pattern, an esotericism. It has to do with aesthetics of transparency and layers, with the distance from reality – it’s an incantation.
The skin is the human texture populating 3D models made by architects and town planners. It’s the possibility of occupying a place, an imprint – it’s an embodiment.
Today, the identity of an era is no longer personified by Byzantine icons, a gaunt Marylin Monroe or the heroes of Socialist Realism, but soil-less stereotypes, “digitized cut out people” sold 5 dollars each by European or North American images databases. Once reframed and portrayed, these characters first destined to remain anonymous convey the emotional, mythological or instinctive charges of a ritualized nature, which finally initiates the idea of bodies colonized by their own environment.
The Sign and the Skin was made possible with the support of InTRu, a laboratory of the University of Tours, and the Architectural, Urban and Enviromental Council of Touraine.