Vent dominant

Like an hymn to nature, Vent dominant plays with the close link between textile and architecture, the support and the surface, and its deployment in space. As an extension of her practice, Elise Peroi draws on Augustin Berque's Histoire de l'habitat idéal, De l'Orient vers l'Occident and his idea of the hut as a natural habitat. Produced as part of her residency at the Fondation Thalie in Arles in 2024, this work is part of her Nouer une cabane project, in which she draws inspiration from the gardian's houses in Camargue (South of France). Originally built from wood and reeds sewn together with wire, these shelters, whose rounded shape allows them to withstand the Mistral wind, blend in naturally with their surroundings. The architectural structure blends into the landscape through the drawn shapes and the use of emptiness as the poetry of the wind, the whole becoming one. ‘For me, the hut is a way of representing textiles as nomadic, breathable architecture, working with textiles of varying inclinations.' - Elise Peroi

Like an hymn to nature, Vent dominant plays with the close link between textile and architecture, the support and the surface, and its deployment in space. As an extension of her practice, Elise Peroi draws on Augustin Berque's Histoire de l'habitat idéal, De l'Orient vers l'Occident and his idea of the hut as a natural habitat. Produced as part of her residency at the Fondation Thalie in Arles in 2024, this work is part of her Nouer une cabane project, in which she draws inspiration from the gardian's houses in Camargue (South of France). Originally built from wood and reeds sewn together with wire, these shelters, whose rounded shape allows them to withstand the Mistral wind, blend in naturally with their surroundings. The architectural structure blends into the landscape through the drawn shapes and the use of emptiness as the poetry of the wind, the whole becoming one. ‘For me, the hut is a way of representing textiles as nomadic, breathable architecture, working with textiles of varying inclinations.' - Elise Peroi

Like an hymn to nature, Vent dominant plays with the close link between textile and architecture, the support and the surface, and its deployment in space. As an extension of her practice, Elise Peroi draws on Augustin Berque's Histoire de l'habitat idéal, De l'Orient vers l'Occident and his idea of the hut as a natural habitat. Produced as part of her residency at the Fondation Thalie in Arles in 2024, this work is part of her Nouer une cabane project, in which she draws inspiration from the gardian's houses in Camargue (South of France). Originally built from wood and reeds sewn together with wire, these shelters, whose rounded shape allows them to withstand the Mistral wind, blend in naturally with their surroundings. The architectural structure blends into the landscape through the drawn shapes and the use of emptiness as the poetry of the wind, the whole becoming one. ‘For me, the hut is a way of representing textiles as nomadic, breathable architecture, working with textiles of varying inclinations.' - Elise Peroi

Attrape-brouillard is inspired by the water collection nets installed in Morocco to supply local populations and alleviate shortages. Using a mesh technique, the fog is captured and transformed. Like ‘a cloud to be painted', Élise Peroi thinks up her own installation, playing with volumes and light. The movement, reinforced by the use of silver leaf as a veritable plastic language, gives substance to the shapes and to the idea of shimmering water. The use of transparency in the voids reveals the pattern of yellow shrubs, the Sophora denudata, a species naturally capable of capturing water from the fog.

Attrape-brouillard is inspired by the water collection nets installed in Morocco to supply local populations and alleviate shortages. Using a mesh technique, the fog is captured and transformed. Like ‘a cloud to be painted', Élise Peroi thinks up her own installation, playing with volumes and light. The movement, reinforced by the use of silver leaf as a veritable plastic language, gives substance to the shapes and to the idea of shimmering water. The use of transparency in the voids reveals the pattern of yellow shrubs, the Sophora denudata, a species naturally capable of capturing water from the fog.

The Objet serie is part of Elise Peroi's artistic research into huts, a theme developed during her residency at the Fondation Thalie in Arles in 2024. Conceived as veritable objects in themselves, the support - a structure that can be modulated in space - and the surface communicate with each other. The artist echoes the everyday equipment found in the houses of the gardian in the Camargue: a water filter, a cage or a washbasin. Each is closely linked to his work Vent dominant.

The Objet serie is part of Elise Peroi's artistic research into huts, a theme developed during her residency at the Fondation Thalie in Arles in 2024. Conceived as veritable objects in themselves, the support - a structure that can be modulated in space - and the surface communicate with each other. The artist echoes the everyday equipment found in the houses of the gardian in the Camargue: a water filter, a cage or a washbasin. Each is closely linked to his work Vent dominant.
 

The Objet serie is part of Elise Peroi's artistic research into huts, a theme developed during her residency at the Fondation Thalie in Arles in 2024. Conceived as veritable objects in themselves, the support - a structure that can be modulated in space - and the surface communicate with each other. The artist echoes the everyday equipment found in the houses of the gardian in the Camargue: a water filter, a cage or a washbasin. Each is closely linked to his work Vent dominant.

The series, S'attarder en surface, has its origins in Italo Calvino's Les villes invisibles, a poetic utopian look at our modern world. Élise Peroi is developing her own textile cartography, breaking it down into 7 unique works and defining her own aesthetic of the fragment. Her work revolves around the question of presence through absence, signified by the use of the void as form and material. The application of silver leaf, whose oxidation suggests a natural evolution of colours towards red, mixed with painted flower motifs reminiscent of those in Persian miniatures, questions the notion of time. Each of the fragments comes from the same silk canvas, painted and then cut, which is then woven with linen threads. The delicate superimposition of the latter, like an archipelago, then allows the construction of a new work.

The series, S'attarder en surface, has its origins in Italo Calvino's Les villes invisibles, a poetic utopian look at our modern world. Élise Peroi is developing her own textile cartography, breaking it down into 7 unique works and defining her own aesthetic of the fragment. Her work revolves around the question of presence through absence, signified by the use of the void as form and material. The application of silver leaf, whose oxidation suggests a natural evolution of colours towards red, mixed with painted flower motifs reminiscent of those in Persian miniatures, questions the notion of time. Each of the fragments comes from the same silk canvas, painted and then cut, which is then woven with linen threads. The delicate superimposition of the latter, like an archipelago, then allows the construction of a new work.

The series, S'attarder en surface, has its origins in Italo Calvino's Les villes invisibles, a poetic utopian look at our modern world. Élise Peroi is developing her own textile cartography, breaking it down into 7 unique works and defining her own aesthetic of the fragment. Her work revolves around the question of presence through absence, signified by the use of the void as form and material. The application of silver leaf, whose oxidation suggests a natural evolution of colours towards red, mixed with painted flower motifs reminiscent of those in Persian miniatures, questions the notion of time. Each of the fragments comes from the same silk canvas, painted and then cut, which is then woven with linen threads. The delicate superimposition of the latter, like an archipelago, then allows the construction of a new work.