Clémence Torres, artist and curator, borrows architectural materials, using elements like mirrors, glass and metal. An esthetic that seems initially very minimal, even industrial, allows visitors to undergo sensitive, poetic experiences. The artist reworks her pieces by hand, leaving traces of the gestures she’s made on these manufactured elements. She also works as an editor. Her booklets, assortments of detached, humorous prose, operate in parallel with her sculptural constructions: They constitute two ways of apprehending space and time. Her works seem both rigid and fragile, punctuating space like her texts punctuate the blank page.
 

“ Visual perception and the construction of the gaze are my starting points ”, is how Clémence Torres describes the genesis of the exhibition dans le vide, l’horizon disparaît [in the void, the horizon disappears].* Within the unusual frame of the Wilson arches, the artist has created an original installation: Composed of several elements that function as measuring tools and devices, her work allows us to perceive a game of lines, cuts, intersections and perspectives, all starting at eye level. This metric system of reference (1.57 m), recurrent in Clémence Torres’ work, echoes Le Corbusier’s Modulor. Here, it measures itself against an excessive scale, its position within the exhibition space evoking, through a mise en abîme, our own position in the world.