Yuna Amand does not present a rigid vision of phenomena that are evanescent and rhizomatic by nature. Passionate about detail, detached from the spectacular, she marvels at the poetics of organic variations. For this reason, the artist has a minimalist approach and is attached to multiples. Her practice deals with the passage of time and contemplates the relationship between time and space, and fullness and emptiness. She highlights dynamics that simultaneously burst forth and slow down. Sensitive to the ecological question, she captures invisible traces deployed in the landscape. It is her way of suspending fleeting memories, exactly as she does when she collects the oral memories of […]
Yuna Amand does not present a rigid vision of phenomena that are evanescent and rhizomatic by nature. Passionate about detail, detached from the spectacular, she marvels at the poetics of organic variations. For this reason, the artist has a minimalist approach and is attached to multiples. Her practice deals with the passage of time and contemplates the relationship between time and space, and fullness and emptiness. She highlights dynamics that simultaneously burst forth and slow down. Sensitive to the ecological question, she captures invisible traces deployed in the landscape. It is her way of suspending fleeting memories, exactly as she does when she collects the oral memories of […]
Yuna Amand does not present a rigid vision of phenomena that are evanescent and rhizomatic by nature. Passionate about detail, detached from the spectacular, she marvels at the poetics of organic variations. For this reason, the artist has a minimalist approach and is attached to multiples. Her practice deals with the passage of time and contemplates the relationship between time and space, and fullness and emptiness. She highlights dynamics that simultaneously burst forth and slow down. Sensitive to the ecological question, she captures invisible traces deployed in the landscape. It is her way of suspending fleeting memories, exactly as she does when she collects the oral memories of Saint-Pierre-et-Miquelon’s inhabitants in a sound archive of their lives. For Yuna Amand, ‘everyday sensations [become] promises of unsuspected experiences’. As such, her pieces, both visual and sonic, remain open to interpretation. They are saturated, reminiscent of white noise, but welcome other individual imaginations: the paths she suggests open on to multiple narratives.
Clelia Coussonnet