Initial contact with Juliette Jouannais'propositions immediately brings to mind the tensions that are characteristic of contemporary hybrid practices. Whether painting or sculpture, model or construction, utopia or pragmatism, frontality or spatiality, levitation or gravity, clearly it's not a question of choosing. On the contrary, it's all as though the viewer's body has been asked to enter into complicity with the work via a kind of imaginary choreography of an unprecedented genre. In the first instance, it would be necessary, in a dreamlike fashion, to slip and sink into the meanders of a space that was both wrapped and open, offered to a dream body, momentarily becoming fluid and agile. The space blossomed in volume is no longer analyzed but recorded. Secondly, the colorful dynamic induces a bubbly, gourmande sensation that evokes fragmentary moments of happiness, instants of epiphany. There's something truly stubborn, or orch, in this work, that seems never to give up the lightening of mass, the coloring of shadows, or the illumination of blind spots. And finally, a powerful contraction occurs between the voluptuousness of a decorative oriental line and the defining measurement that contains it within a dream-like architecture. Something is at work in this heterogeneous proposition that is relevant to us in a specific way. There's no doubt about it: poised between freedom and control, Juliette Jouannais plays out before our eyes the compression of matter in time's vice.
Stéphanie Katz, essayist (image and Semiology)