Le Vrai Fake, chapter 2
Material: Earth, clay, seeds
This work is a persecution of a previous work: Le Vrai Fake 1.
I started feeling guilty because I took a stone from its home and moved I to an unknown environment.
While searching for explanations for this bizarre sentiment towards a stone, I got intrigued through its genesis. I decided to turn my guilt into motivation and dig deeper into the history of this stone. But in stead of questioning the role of authenticity, I wanted to research into the microscopic political and geological issues of its original habitat. A new project arose from this. A project that tends to bring the stone back from where it came from, and together with it, a gesture of hope and life.
Desertification is the expansion or creation of deserts, mainly as a result of climate change and erosion through poor landscape management. I found my stone in the south of the High Atlas Mountains in Morocco. As the Moroccan government keeps supporting large mining businesses, the desertification in this area is increasing exponentially. Water stress is making life impossible in more and more villages every year.
One of the tactics to protect the land from drying out, or even to restore a desert landscape, is to grow forests. Therefore, I started reproducing my stone using the seed bomb technique. Seed bombing is the practice of introducing vegetation to land by throwing seed balls. The clay stores the seeds, and protects them against the external world. It gives them all the time they need in order to grow with the exact conditions they prefer.
The seemingless worthless stone gets shaped into a seed bomb. A sculpture that can blossoms and flourish and finally transform into a tree or a plant.
Read a text from Hans Theys about Le Vrai Fake on his website;
Photo 1; seedbomb
Photo 2; exhibition view Borrowed Spaces at Warp Contemporary Art Platform, Sint Niklaas. Read an article here for an article by the Art Couch about the exhibition.