À bâtons rompus
Archipel
A‘Ã Clone
Brazilian Gardens
Cactus Sibyllin
Daily Archeology
Élément Vertical Zéro
Golden Horizon
Jardin d'Hiver (version indigène)
Jardin d'Hiver (version indigène)
Jardin d'Hiver (version tropicale)
Marie Louise
No Matter
Puddle Planters
Tropical Prospect
Ultimate Thrill

À bâtons rompus
2011
sovena blue and white soap

Archipel
2012

A‘Ã Clone
2013
aluminum cast, basalt rock
18 x 23 centimeters
Unique

A'A Clone, an aluminum mold of a fragment of igneous rock taken from the Piton de la Fournaise, opens the exhibition. This index presence that, in its presentation, uses the same rules applied in the Natural History museums is doubly significant. It literally replays by its manufacturing process, that of the lava, its matrix.

Brazilian Gardens
2013

Cactus Sibyllin
2013
aluminum cast, basalt rock
23 x 20 centimeters

A'A Clone, an aluminum mold of a fragment of igneous rock taken from the Piton de la Fournaise, opens the exhibition. This index presence that, in its presentation, uses the same rules applied in the Natural History museums is doubly significant. It literally replays by its manufacturing process, that of the lava, its matrix.

Daily Archeology
2010
5 x 110 centimeters
Unique

In this context, the notion of contemporary archeology acquires a strong symbolic value when novelty, a clearly acclaimed concept of modernist ideology, seems to explain perfectly the nostalgic idea of the postmodern era of the potential ruin. Just think about the situation in which the consumer has to buy the latest model of a cell phone when a new version, with better performances, is already available on the Internet. Temporality thus undergoes a dizzying compression in the digital era, a chronofagy measured in nanoseconds. With "Daily Archeology" (2010), Adrien MISSIKA reverses and accelerates the aging process of an unlikely archaeological object. Common soaps are subjected to a relatively long period of inactivity, during which they are turned into unique archaeological objects. Preciously kept in glass cases that resemble the boards in the museums of natural history, these ready-made thus acquire a new and somewhat unexpected value. In order to preserve, protect and defend them from the wear of time, as if they were real historical artifacts, these everyday objects are paradoxically museified. Through the idea of Bunker4, a ruin in cement of a recent past, the idea of the museum is questioned in an era where conservation seems to be in contradiction with the dromologic spirit of the contemporary era.

Élément Vertical Zéro
2012
resin, plastic pot, cactus.

Golden Horizon
2013
glass, aluminum

Jardin d'Hiver (version indigène)
2013
plants, bamboo, concrete, twine, synthetic resin
350 x 180 centimeters
Unique

Jardin d'Hiver (version indigène)
2013
plants, bamboo, concrete, twine, synthetic resin
300 x 180 centimeters
Unique

Jardin d'Hiver (version tropicale)
2013
plants, bamboo, concrete, twine, synthetic resin
250 x 180 centimeters
Unique

Marie Louise
2011
marble
65 x 45 centimeters
Unique

No Matter
2010
wall installation: ashes, paint

Puddle Planters
2013

The wall installation Puddle Planters consists of thirty puddles of black resin, hung in quincunx fashion, containing all the same plant, a Tillandsia Cyanea. The repetition of the pattern develops in a three-dimensional way on the wall following the principle of decorative wallpaper. Puddle Planters corresponds to the sculptural transcription of a visual impression, of an image collected on the slopes of volcanoes surveyed for many trips.

Tropical Prospect
2011
installation

Adrien MISSIKA ventures into the permanence of the tropical dream in the imagination of our modern minds. Seeing those places through MISSIKA's sunglasses means joining his double vision: affirmation and seduction are paired with a subtle melancholia. With irony his works recycle clichés of our visual pop culture, while at the same time maintaining an analytic distance to his subject.

Ultimate Thrill
2011
wallpaper

Playing with the aesthetics of advertising and those of op and pop, the work "Ultimate Thrill" is mixing two sliced photographs of big waves into a giant wallpaper. The visual overlapping pays homage to the physical phenomena of « standing waves » which appear when waves of two different directions collide.