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In Adèle and Emma Leseigneur-Leullier’s work, sculpture is never an object. It is a strained organism — a device that breathes, seeps, and is kept at the threshold of the living. Hanging from its own frame, an organ undergoing maintenance struggles to breathe. Its cables fold back on themselves, constrict, thread into one another with an almost elegant determination. On the surface, a latex skin, jagged and punctured, stretches and relaxes under some inner pressure. Moiré traces and dark reflections can be seen, as if the material were exuding oil. Behind this membrane, the vascular circuit pulses with the regularity of a computer system in slow failure. The whole thing seems to hold together thanks to tension, fatigue, and an instinct for endurance more than to a desire for structure. The veiny network forms an architecture of the intimate, the reconstruction of a collective body in a world that no longer remembers having been alive.
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Press Release
In Adèle and Emma Leseigneur-Leullier’s work, sculpture is never an object. It is a strained organism — a device that breathes, seeps, and is kept at the threshold of the living. Hanging from its own frame, an organ undergoing maintenance struggles to breathe. Its cables fold back on themselves, constrict, thread into one another with an almost elegant determination. On the surface, a latex skin, jagged and punctured, stretches and relaxes under some inner pressure. Moiré traces and dark reflections can be seen, as if the material were exuding oil. Behind this membrane, the vascular circuit pulses with the regularity of a computer system in slow failure. The whole thing seems to hold together thanks to tension, fatigue, and an instinct for endurance more than to a desire for structure. The veiny network forms an architecture of the intimate, the reconstruction of a collective body in a world that no longer remembers having been alive.
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