Untitled (reiteration), 2019

Jezy Knez

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Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez
Jezy Knez, «Sans titre (réitération)», 2019, clear plastic, Format Paysages, Parc régional du Morvan, photographie : Jezy Knez

Untitled (reiteration), 2019

variable dimensions Morvan regional park presented as part of the festival "Format Paysages" commissionership Jean-Michel Lejeune et Véronique Verstraete

The installation takes place along the “waterfall of paradise”, a site which appears to be preserved from the monoculture of conifers which has been upsetting the Morvan landscape for decades. Accessible only on foot, the site is an area where the trees are less dense, occupied by a waterfall which crosses it until it gets lost in the nearby lake. On both sides, a flow of rounded rocks covered with moss gives it the appearance of a forum in which one is invited to sit down to observe the forest in a panoramic way. The site naturally calling for parking, it becomes for us an epicenter, a starting point from which to deal with the specifics of the forest. The work we are proposing is presented as a partial covering of the area around the waterfall with a contrasting transparent material. The shapes she draws imitate those of the landscape – and rocks in particular – which prevents them from being noticed immediately. Although dispersed, we understand that they constitute an entity that could proliferate and continue to spread. By freezing this intrusion of matter in an intermediate state, without origin and without becoming clearly defined, we want to grasp the ambiguity of this forest, between picturesque and industry, by plunging it into a universe inspired by science fiction stories. The monumentality of the Douglas patches provokes a fascination in those who inhabit them that obscures the devastating situation of the original Morvan ecosystem. Our intervention plays with this sensation by proposing this time a metamorphosis of the forest by an unknown foreign body that acts slowly without formal break with the existing, like the Body Snatchers of the film of 1979. To imitate a known repetitive form is to impose a new one without being noticed and worried about it. In this sense, the plant plans to replace the forest discreetly with a potentially harmful organism, the envelope it deposits can asphyxiate the vegetation. The presence of earth and foam at the base of each fragment nevertheless makes it possible to relativize this fatalistic scenario as well as the interior condensation. Is there a resistance of nature? Is this proof of a possible cohabitation between the elements? Recalling the glass beach in California born of human negligence in which the turtles come serenely to lay their eggs or even the ancient quarries that cover themselves with ever more abundant vegetation, the installation is an invitation to project into the complexity of a landscape such as that of the Morvan.