Updated: Jan 29, 2021
Dilating Nature expresses a form of subjective and jubilant modification, each appearing insane to the other. The creation of possible worlds goes beyond description--it delves into an archeology of common imagination. The strange and foreign forms disturb not in their degrees of contrasts, but rather in their familiarity. The spectators facing new forms tends to recognize only friendly, intimate, known forms. Their identification drives emanate from the discomfort of these morbidities. They try to make analogies to the usual forms to get out of this elusive situation. Or, perhaps, this is due to spontaneous and archaic identifications. Where do these shapes come from? How are they formed? How do these invisible worlds manage to bring a new semiotic language?
The shape of a foreign object is indescribable, it disturbs. This strange presence poses a problem, like a flaw in reality which by definition escapes the imaginary, the fictional. The disturbing form appears as a bug, and this dysfunction hits perception first and interpretation later. Everything that is questionable escapes reality and comes back to it. This sublimation leaves for the world of ideas, seeking origin and identity of this disparate body. The resulting hiatus reaches a dimension that escapes measurement...like a dream in which one finds oneself in the middle...right in the middle the morbid form is both a fossil and a meteorite; a time window.
With a system of elimination, the observer tries to understand: if this body is not from this world, it surely comes from somewhere. In the space-time scale he tries to locate it. But it seems at the same time so close and so far away. The observer doesn't know whether he needs a microscope or a telescope. The scale becomes derisory and gives up its reliability.
About the Artist/Author:
Bochra Taboubi: Visual artist and product designer from the Higher Institute of Fine Arts of Tunis. I’m interested in organic shapes, biomimicry and the relationship between Human and Nature. These biological and philosophical inquiries take the form of drawings, monographs, videos and sometimes sculptures with plates that I call « imaginary taxonomy ». I mainly create dreamlike worlds with imaginary creatures that are questioning human's issues. I always take part in residencies to develop my personal approach and use the Workspace itself as an installation--a sort of a laboratory of experiments