The One Who Sees Blindly, 2011-2018 (detail), Cité de la céramique - Sèvres and Limoges. Private Collection. Image courtesy © Gérard Jonca/Sèvres-Cité de la céramique. © Nathalie Talec et ADAGP 2018.
The One Who Sees Blindly, 2011-2018 (detail), Cité de la céramique - Sèvres and Limoges. Private Collection. Image courtesy © Gérard Jonca/Sèvres-Cité de la céramique. © Nathalie Talec et ADAGP 2018.
Nathalie Talec at work at the Manufacture de Sèvres.
numbered. The work is serial. Each piece is however unique: Nathalie Talec’s take is to present the eyes closed in a unique way.
The Secret of the World revives this figure.
The work is formed of six parts joined together like broken archaeological pieces stuck back again. Put together
they form this space/brain, a sculpture that can be occupied in which the public enters. The outer casing is smooth, pleas-ant to touch, mimicking Sèvres biscuit porcelain. The interior is a reconstruc-tion of the crevices of the brain, a sort of sensory grotto. Inside the work of art the space breathes, rustles and perfumes.
Presence or simple pressure applied to the internal curves by the hand is enough to trigger sensory effects.
Touch is therefore not only intended to recognise forms but it also serves to trig-ger the ‘reactivity of surfaces’ through sensor systems. Motion, movement and wandering along the inner walls are required to activate the work. There are no obstacles or objects within the work of art to detract from discovering its form to the maximum and to be as receptive as possible to sensory intimacy.
About four to five people are recom-mended to trigger additional sensory experiences at several points of the shell.