To approach Marie Luce Nadal's work is to accept uncertainties, to summon so-called antinomic notions, to get lost in the encounter of territories and finally to realize that there is nothing arbitrary in this entanglement of knowledge.
Her training reveals her interest in the mixing of genres, from hes studies in architecture to her training at the Arts Décoratifs de Paris, to her thesis carried out in collaboration with the PMMH Laboratory (Physique et Mécanique des Milieux Hétérogènes) in Paris.
Her work comes naturally from this alliance between science and art, an alliance that has little to do with those maintained by Renaissance artists, namely a common desire to get as close as possible to reality. Marie-Luce Nadal highlights the different forms that artistic and scientific research can take, whether in the systematic experimentation of materials, techniques, the formulation of ideas or the manufacturing process.
However, and above all, it is through the place given to imagination that she weaves her strongest link between her fields of research. This imagination that sometimes leads to madness when it comes to quantifying, capturing, materializing what escapes us and exceeds us.
The work #The Eolorium reports on this approach. Carried out during a year of immersion in a Laboratory of Physics and Fluid Mechanics where she attended numerous seminars. During the latter, she lets her mind wander to the sound of the words she hears. From this raw, impalpable material, she will make a recording of it in the form of geological strata.
Printed in 3D and enclosed in an aquarium, the graphics have given way to a shaky territory, between sky and earth, between shadow and light. This uncertain territory, protected by glass plates, then becomes a sacred relic whose access is both open to us and refused because of the transparency of the material that forms the rampart. This aquarium motif reappears in his room # La fabrique du vaporeux, a kind of Promethean machine capable of creating cloud ersatz.
To make this possible, Marie-Luce captures cloud particles and electrical storm residues and reduces them into extracts so that they can be reproduced at will.
Here, the "artificialisation" of nature reflects our relationship to it. Between ever more spectacular scientific advances, an unprecedented ecological crisis and a neo-colonialism that extends to natural resources, this capture of an eminently natural movement tends to show the ambiguous link we have with it - both as a kind of parameter of social evolution and at the same time an emanation of an almost divine power.
And it is undoubtedly from this ambivalence that Marie-Luce Nadal's work draws its strength, from this capacity to highlight this fundamentally human will to control and subordinate our environment and at the same time this fascination for its resistance and indocility towards us.
What the artist captures in her works are debris from the aura, traces of shiny dust, from a world destined to disappear.