Last oneAtelier:
Marie Aimée Fattouche
(Exhibition Edition)

February 2nd, 2024

Our next visit will be Marie Aimée's solo exhibition Nous infinir mon amour in the Gallerie du Haut Pavé (3 Quai de Montebello, 75005 Paris), is scheduled for February 2nd, 2024. Marie had a oneATELIER studio visit last year and since then, has been working on this exhibition. She would like to emphasize the importance of the creative process over the final result, especially when working toward a solo exhibition. She explores the challenge of balancing the time spent on in-depth research with the need to produce a specific quantity of work.

We will now have the pleasure of seeing Marie Aimée’s outcome, see how her ideas became form, and continue our discussion with her from this new perspective.

Exhibition text:

By conjugating the infinite in the infinitive, Marie Aimée Fattouche invites us to an intimate journey into the heart of this mechanical research she initiated nearly two years ago.
Within this deliberately sanctified space, inspired by the hypostyle halls of ancient Egypt, the strange columns and architectures rising or lying on the ground, often truncated and threatened by ruin, seem to bear witness to a mysterious transcendence. All adhere to the same principle, erected into a system: two pieces of clay, a key, and a double latch, each meticulously crafted by hand, mechanically interlocking to weave a mesh that is as sturdy as it is flexible, yet not immune to risk. In this paradoxical duality felt intimately by the artist, the infinite repetition of the assembling gesture, the vertigo of the void around which the work organizes itself and draws its coherence, lies the very essence of the creative endeavor": a gamble, a promise, a prayer.

Translation of Pascale Richard’s text

En conjuguant l’infini à l’infinitif, Marie Aimée Fattouche invite à une déambulation intime au cœur de ce travail de recherche mécanique qu’elle a initié voilà bientôt deux ans.

Dans cet espace sanctuarisé délibérément inspiré des salles hypostyles de l’Égypte de ses origines, ces étranges colonnes et architectures qui s’élèvent ou gisent à terre, quand elles ne sont pas tronquées et menacées de ruine, semblent témoigner d’une mystérieuse transcendance. Toutes obéissent au même principe, érigé en système : deux pièces d’argile, une clé et un double loquet, chacune façonnée à la main, qui s’emboîtent mécaniquement, tissant au gré de leur assemblage un maillage aussi solide que doué de souplesse, mais jamais à l’abri du risque. Dans cette dualité paradoxale qu’éprouve intimement l’artiste, dans la répétition infinie du geste qui assemble, dans le vertige du vide autour duquel l’œuvre s’organise et puise sa cohérence, réside l’essence même de l’entreprise de création. Un pari, une promesse, une prière.

Pascale Richard

About

Maire-Aimée Fattouche (b. 1991, Paris, France) lives and works in Paris.

After completing her MA in Fine Art in 2016 at Chelsea College of Arts London, Fattouche was granted the Mercers’ Arts Award - an award given by The Mercers’ Company to graduating MA Fine Art and Visual Arts students across UAL. In 2017, as one of the winning artists of the Red Mansion Art Prize - a not-for-profit organisation which promotes dialogue between Great Britain and China - she was invited to spend one month’s residency in Beijing. Her work was exhibited at the Hockney Gallery, Royal College of Arts London, in 2018. In 2019, she was honoured to be part of the artists’ shortlist for the Mark Tanner Sculpture Award at Standpoint Gallery London. In 2022, she presented an installation as part of the collective show GLOBALISTO at the MAMC+ (Musée d'Art Moderne et Contemporain de Saint-Etienne) presenting 19 artists from the african diaspora.