Whether she uses video or photography, Nathalie Rao questions the relationship to the work and to the world, always experimentally, close to performance. His analysis of the image passes more by the feeling than the frontal shock.

Today, his practice focuses on the way of the interrogative equation, its vocabulary, its context.

The piece, titled"projection", made for Sète, is a world map on the ground, made of artificial blood, the one used in the cinema. The world map already constitutes in itself a deformation of the world, resulting from different cartographic projections, a painting of history equivalent to the writing of scribes: accounts of the flows of goods and the networked landscape built to make colonial and commercial expansion exploitable. of the empire. Another reading of "projection", a point of view from above where the world map becomes a mirror. The spectator can then see its effect in the blood-red glaze turning to black under the spotlights of the exhibition device.

Immersion: the time of the exposure, the process will be implemented, the image will move.

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A poster composed of a list of words, red on a white background paints the picture of a situation between fiction and horror, that of the film "exorsiste 3" which gives the title"exorsist 4"to this nomenclature of latent, daily and ordinary violence which constitutes each one. A return of the repressed? The violence that constitutes us questions the person and his responsibility, his ambiguities and his paradoxes, his identity, violence and fear, two areas which, by dint of being avoided by "political correctness", only engender  monstrosities.

What do we choose when we look at a work of art?

Using a map of the world,   tells us Nathalie Rao, is an important gesture in itself. "

 

Lise Ghehenneux

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