The works of Hélène Bertin, Éléonore False and Ingrid Luche that are part of the exhibition Bertfalhe are all linked to a journey, to the discovery of cities and territories, showing an interest for new horizons, and a form of otherness.
Each of the artist therefore undertook a trip. Éléonore False went to Japan, Ingrid Luche travelled to Los Angeles, and Hélène Bertin to Cucuron. From destinations whose cultures are distant to us, to familiar imageries known through the media that present them as a myth, and to countries close to us where some practices may seem perfectly unfamiliar, the exhibition relativizes the notion of elsewhere – always ethno-centric – and of displacement.
In addition to the attraction for various cultures, the three artists are more specifically interested in rituals or rites, in the construction of beliefs. Their respective approaches are to verify myths, explore endangered cultures or return to the sources to investigate an ancestral procession that is still going on. Each artist has as a working method a phase of immersion and documentary research, which is then differently visible in their practice. Publishing or conference can play a role in Hélène Bertin’s work, Éléonore False associates documents with objects, while they become an integral part, more or less identifiable, of Ingrid Luche’s works.
Finally, these artists share a use of craft techniques – ceramics, textiles, weaving, glass work – that they experiment with, seeking the best formalisation of their ideas. They also all show an interest in the pattern, with what it represents in terms of belonging to a culture, community or group. A pattern that they decontextualize and distort, in order to transpose it onto unexpected media by using unusual techniques. A photograph prior to a work by Richard Prince becomes the motif of a dress or cape by Ingrid Luche; abstract drawings of a book found in Japan become a mural installation of Éléonore False, the procession of Cucuron’s May Tree becomes the raw material for new works and is infused into Hélène Bertin’s ceramics.
If the pots, vases and cups of Hélène Bertin can blend in with the return of ceramics in the design today, Éléonore False’s objects, which are non- functional, are moving away from this field, as are Ingrid Luche’s unusable clothes, that are embodied in sculptures which do not have any use.
Thus the exhibition, which condenses and makes the worlds, objects and motifs of Hélène Bertin, Éléonore False and Ingrid Luche cohabit in a intertwined way, becomes a place in its own right, an autonomous territory composed of elements from different cultures and regions. Named Bertfalhe, it calls for an imaginary world that everyone is free to locate on a map.