Before going to art school, Caroline was in the science stream. From this education, she maintains a deep fascination for civil engineering and biology as well as writing mathematics. She then entered the Ecole Nationale Supérieure des Arts Décoratifs, in the Art Espace sector, oriented towards sculpture and installation. A rigorous method, protocols, systems, her practice takes the form of a kind of fictitious scientific research, a contemporary archaeology. She graduated in June 2019. Caroline produces a large quantity of drawings which are invented writings, a kind of archive, extremely complex plans of which only she knows the legend, or imaginary cities. Sculptures and installations are directly linked to these drawings. From archaic gestures, she sets up slow and repetitive processes, which become rituals for her, she elaborates complex structures. Like cultures, they develop over time. They then draw landscapes, which play with the specificities of the places that welcome them. The sculptures work together in a given space, a given territory, to form a fictitious environment, in which beings from another world seem to evolve. She is holding her first solo exhibition entitled "La Serre, une exposition évolutive" from October 15 to November 15, 2018, on the third floor of the Générale Nord Est in Paris. A unique place, a former electricity factory with an industrial look, covered with earth and transformed into a giant greenhouse. A greenhouse that was meant to be a laboratory, in which Caroline continued her daily rituals, trying to show the work being done, and the forms gradually developing. Recently she also showed her work in a collective exhibition "No need for a report" in Chagny in Burgundy.

Caroline is a unique kind of telluric event. The emotion of the flora that is shaking, scattering here and there flocks of organisms on a natural pattern. All similar, none identical. She works in secret in the tribes of insects, battalions of cut stones or colonies of pylons, she transforms herself into a pulsation and seems to work every day on the subtle workings that create the objects of the world. In the midst of volcanic conglomerates, a colombine is messing around: is it one of ours? From bricks to drops and plates to balls, its particles orient themselves and suddenly freeze their movement of crowd. When she enters her weekly meditations, Caroline projects thousands of magnetized javelins, which say something about the internal mechanics of life, all participating in a single electric current, onto the abandoned leaves. The one that forms the cities, the temples, the termite mounds, that organizes the absconding letters of the languages of all times and partitions the cries of the Toco toucans.. At the heart of his voice bursts, motifs are drawn, grains vibrated by magnetic transport.

Elytra rubbed successive prints of harpooned paws on a soft clay durable trace of a flame having danced on the brick its strident glass beads in transhumance along a catenary stretched cadenced facade of a cylindrical moucharabieh Krakakiek! tatachnina! The words are thrown like learned accidents. Repeating the rupture: a matter of rhythm. When sound, when silence. That's when the lines are formed, when the processions of marbles all go musically to burrows that absorb them to spit them out elsewhere like percussive touches. Caroline recently presented her phenomena around an incubator that she calls La Serre, at La Générale in Paris (10.2018) and continues to increase them cyclically before a new harvest.

text by Balthazar Heisch

Portfolio Caroline Anezo