Skin to Skin, the concept

A commitment

Through our work, we are committed, as artists and as citizens. This commitment structures itself around the bond, the stringency and accessibility which substantiate our artistic concept.

“Everything should be made as simple as possible, but not simpler.” - Albert Einstein.

Respecting this bond connects us to you, our audience, and guides our choice of partners that represent us to the public ; like a foundation which must be constantly built, nurtured, enriched, or consolidated when it cracks.  

The creative act

Our creative approach is a simple act that is at the service of a commitment in today’s world, for the sake of a world for tomorrow's world to be reinvented together ;  places of utopia. Every act of creation tends to go beyond individuality.

Our creative process unfolds with visual writings, up to the making of the artworks, from literary and conceptual writings until the dematerialized artistic installation.

An approach to conceptual art 

For us, conceptual art and the concept around it cannot be merely reduced to an idea. They both offer a thought content, a representation, a technic and a proposal that are all connected to the object possessed.

The conceptual process is just as important as the creation that results from it, involving a compelling, controlled consistency.

Skin-to-Skin addresses conceptual art as the process through which the artist constructs a proposal for the public/visitor/voyager to explore and extends towards individual and collective utopias which which build the future.

The value of a conceptual artwork is measured by the level of emotion it triggers, the depth of the questioning it inspires, and its capacity to find the paths that lead the heart to the soul.

The allegorical motion 

With the combination of text and visual, Skin-to-Skin is a projection of a shift in consciousness.

We offer an experience and a vision, an intimate matter that interacts with the world ;  a sensory journey, within the depths of the matter and through its faults, to that place where the infinitely small converges with the infinitely large, where emptiness is full; an open door to the immaterial world.

Together, we look for aesthetics, meaning, strength and a narration capable of creating a poetic universe, liable to bring about emotions and provoke self-questioning, namely reaching the conscience.

We define this shifting of the conscience as the meeting ground for interiority and exteriority, a setting where opposite forces confront each other, the in-between two worlds, in-between two skins, the intimate matter, the link with the inner self and the world, both physical and cerebral ; this link, this ability to think of the world, whose post-modern society of retrogressive and autophagic progress tries to take away from us in order to make us more submissive, and which we must recreate and reconquer for the reinventing and the repositioning of humankind.

Ultimately, consciousness is merely spume when faced with a world whose reality we barely perceive.

The medium

Serving the allegory, the medium stems from light, sculpted paper and manuscripture. Our precept is to create, using very little : thrift with materials and words.

The visual creation arises from an instinctive and empirical action that falls within different explorative and creative gestures.

It consists of working the light and the paper to conjure up the light-matter and freeing its spirit; perforate the matter to liberate the elixir.

Then follows the aligning and selecting the instant that seizes and fixes the creation by means of photographic technic.

• Paper, light, words are the raw materials, the ingredients of the visual creation. Being the depository of written recollections, paper bears the memory of the earth and water, of plant and mineral. Light is the revealing participant of the alchemy and photosynthesis.

• Skin of the unknown : the creative process takes place in absolute darkness (the grotto, the sanctuary), around a light shaft, source upon which is first placed black paper. It represents the dark matter, the skin of the unknown, the scope of possibilities.

• Skin of intimacy : white paper, shaped, molded, and tried represents the skin of intimacy, by means of transmutation.

• The overlaying of the paper symbolizes the contact of skin against skin, between the unknown and intimacy. 

• The light’s path : Light surges from the depths, cuts through the unknown, reveals the elements and travels all the way to intimacy, where it is seized. The colors revealed represent the ingredients of life, Earth, Air, Water and Fire. Hence, these four elements are present in the composition, as well as in the expression.

The bond 

• The process : the revelation of the physical contact of skin against skin liberates a consciousness of the world.
• The materialisation : the sensorial experience is materialized through an intimate matter and a vision of the world.
• The extension : upon contact, the voyager is invited to prolong the experience and the self-questioning, starting from his or her own intimacy.
• The symbolism : the connection with oneself and to the world, to space and time, falls within the creative process and serves its purpose.