The works of French-American artist Cadine Navarro are largely constructed around her own nomadic life story, as witnessed in her seminal piece 55 Homes, a diary of the artist’s multiple relocations around the globe. As she travels she continues to question the very notions of how we define and thus experience our world.
Born in Japan, Cadine continues to draw inspiration from this country’s culture and aesthetics. One can see this throughout her work as she treats subjects of nature, matter and time.
Cadine is intrigued by the processes of becoming…
Seeds, a material present in much of her recent research, infuse the works with a functionality as they become literal time capsules waiting to blossom. But seeds are also the metaphoric vault (Seedbanks), continuously probing the question of man’s relationship to his environment and vice versa.
In the same spirit, One Straw Revolution possesses great power, both in its action and inaction. The performative and participative dimension is also highly present in the work of the artist. The openness of her working process invites the potential for collaboration with people from different practices who re-appropriate her work (55 Homes). The experiences feed the work and the work in turn nourishes future projects.
This ecology of practice, raised in a cycle of reactivations, contemplates the use of language and the manner in which we construct and define our environments (aeiouy).
It is also in the dialogue between ancient rituals and new tools that the series Voice on Paper raises, creating choreographic landscapes, or the basis of abstract alphabets, as developed through the art of the “Suminagashi.” Navarro replaces breath with sound by often using onomatopoeia as a source for visualising the material aspect of words.
So we take a step forward and into a different shape of the original experience. The movement is physical, spatial, intellectual, spiritual.