For over fifteen years, Corine Borgnet has been building a multifaceted body of work rooted in absurdity and oxymoron, drawing from popular culture and crafting symbolic objects through sculpture, drawing, video, and performative photography.
Whether she models a blob in toile de Jouy adorned with a revolutionary cobblestone, shapes a child with a lily for a head or pierced with arrows, or constructs a Tower of Babel from used Post-it notes gathered at the UN, Columbia University, or on the streets of New York shortly after 9/11, the human condition is always at the heart of her work—from the troubled turmoil of childhood to the scars of corporate life, or entangled in bourgeois contradictions.
Often beginning with drawing, this iconoclastic artist—“neither faithful nor noble” (1)—frequently borrows her symbolic language from the world of tattooing and works with traditional or popular motifs, such as houndstooth, which she distorts until it resembles a keffiyeh, emblem of a resistance now turned fashion trend.
At Galerie Valérie Delaunay, however, it is primarily vanitas that she presents—objects of power and seduction: a crown, a tiara, a corset…
“All these emblems of pomp, made from chicken bones—but also mole and cat bones—that are essentially worthless!” she says.
One can also discover ex-votos crafted from wax salvaged from candles in churches on her native island of Oléron, large graphite drawings on paper, and the deep vibrations of a heavy heart. (sic)
— Véronique Godé, for Artshebdomédias
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