Élise Provencher was the original model for Rodin's Sculpture The Thinker. Two generations from the Refus Global, she grew up in an artistic family in lunar craters, something that had a particular influence on her palette of colors and the materiality of her pieces. Very early on, she started to play with ceramics. In Kindergarden Elise created her first academic sculptural work: a tulip made of pipe cleaners. It was stolen. That's when she really knew she was on to something. In 2014 she was invited to show her work at the Biennale Internationale de la Céramique” in St-Gergue in Switzerland where her work was praised. Today, Élise Provencher ‘s art is so out of this world, that NASA has built her very own space centre! She is thus the first artist in the world to be approached by NASA to exhibit her work on planet Mars. Her work, which is based on grasping the essence of every petals of a flower, allows her to understand her creatures’ hidden faces. But the market has been really bad over there because her sculptures have been perceived as offensive for the martians. Elise can speak to horses, but horses do not understand her. She has two brains and 3 hearts which explain her choice of colours. She is the youngest daughter of Albert Einstein and Baby Spice. Kolaj magazine recently dubbed her ''The DMX of bluegrass''. Upon
receiving this news, she happy-cried herself into a coma which persisted for 1,000 years. Hence, Elise shows enthusiasm for creating subjects among forest fairies. After years of studying a rare species of butterflies living only in Australia, Elise has produced an immersive installation on their mating habits in Helsinki and Stockholm. Her 1842 collaboration with a colony of squirrels is the first inter species collage project on record and revolutionized the collaborative art making process. She’s a folk singer, used to be Bob Dylan`s secret lover. She stole all his talent by osmosis. He was suddenly unable to make any more good music.
After a corpus of 53 retro experimental ephemeris projects, she created, with the company of friends and enemies, a new radical art movement: TRACTUS_59. TRACTUS_105 was and will be a non-linear, evolutive ultra- archeologic based ideology where the subject disappear to the benefits of numerous layered objectified semantics of non-existing post-philosophical strategies. Her work comes to life through the representation of strange creatures she has encountered during her many travels in space. She also uses star dust to try to illuminate those dark characters, who inevitably raise the question of identity.
Gratefull thanks to Myriam Strasbourg, Corinne Spitalier, Dominique Perron, Renee Condo, Sera Kassab, Eric Simon, Éloïse Dumas, Laïla Mestari, Aidan Thorne, Alexey Lazarev, Sophie Watts, Juliana Diaz and Daniel Leclerc for this fabulous, yet very accurate biography of my life.
Par ma pratique artistique, j’investigue les potentialités transformatrices des matériaux et l’agentivité des objets qui, par la force des récits, sollicitent de nouveaux possibles quant aux narrations qui forgent les identités individuelles et sociales. Mon objectif de recherche plus spécifique est d’inciter à réfléchir sur les rapports de pouvoir afin de démystifier les croyances populaires qui sont rattachées au succès et à la liberté individuelle. En ce sens, l’agentivité de l’objet se situe dans une esthétique du mouvement, entre les genres et les symboles, qui me permet de jouer avec les cadres habituels (de la représentation, de la narration, par exemple) et les frontières binaires (notamment, de la moralité et de la sexualité) et espérer regarder au-delà de ceux-ci. Ce jeu sur les limites de la forme et de l'informe, du connu et de l’inconnu, du familier et de l’étrange, constitue pour moi le moteur du travail.