I work on time, memory and more specifically the memory of water, because it has been a carrier of history and emotions for more than 15 years as an artist.
I create memory cards of places crossed, nebulae of memories.
In our world where everything is so fast and hectic, I would like to focus on the things that matter, we have lost sight of what is important it seems to me, overtaken by a strong and radical world where speed is omnipresent.
I think that my work today has a particular resonance because it seems to me that there is a lack of poetry, elegance and coherence evident in our time.
It is an ode to the grandiose spectacles, to the natural elements that surround us and to the
grandiose spectacles they give us to see, this miracle of life.
And yet sometimes in the tulmute of our lives, we forget the meaning of existence, of this given
time that we have.
We forget that we belong to a whole, we may give ourselves too much importance too.
There is a lack of cloudiness, of gray areas.
We must have an opinion about everything and all the time.
We always have to choose
And it has to be a crystal clear opinion: it’s bad or it’s good, it’s a yes or it’s a no.
There are no more gray areas.
The collective memory is erased in favor of individualism and immediacy, the relationship to the past is altered.
Everyone says they want to reconnect with nature, to be consistent with the times, but no one does it intellectually or spiritually.
We even forget the exploits of this nature or just the incredible luck of living trying to surpass life or nature, sometimes creating an accident.
I find that the principle of memory collapses, hence this need not to forget through my work.
Items of memories or items that take us back to the past are very short-lived.
It’s a photo, a video, a text message it’s something we can’t discuss because it leaves no room for discussion or uncertainty.
There’s no mixing, you have to see what’s shown to you, hear what’s playing and believe it.
This project would be to bring us back to the poetry that lives in us, to bring back and revive this
part of memories which is nebulous, this part of our feelings and our sensations which are not as clear-cut as our time tries to make us believe.
Glimpse the elegance of things again.
The origin of my work lies mainly in a questioning of the memory of places, the perception and balance of these.
Each light of a country, of a place, offers a particular harmony, it is another atmosphere, it is
necessary to seek it, to discover it, to apprehend it. It is in this sense that I like to travel, to find my first impression of things.
To do this I have this need to disconnect myself regularly from my daily life, to always have a fresh look.
How to discover a place and return to intensity and reaction with it?
I have this need in my work to arrive at a neutral, virgin place where everything is to be built.
This is why when I move I always look for this feeling of starting over. These new places I represent to myself as mythical and poetic spaces open to the field of possibilities.
My work is a constant back and forth between the outside world that I want new and my inner world full of memories and sensations.
It takes birth both in these new places and brings back memories of a distant interior.
These moments of back and forth between uprooting and inner memories allow me to reinterpret with a new light what I perceive of the essence of a place and a moment.
There is in my work, this permanent need to seek a balance, between the immutable and the movement.
I seek to apprehend the space around me through the prism of my past emotions.
The loss of our landmarks generated by uprooting forces us to a stronger receptivity of the surrounding space.
Thus we become a foreign land, ready to be rediscovered…
Born in 1983 in Paris, Amélie Ducommun studied at the École Nationale Supérieure des Arts Décoratifs (ENSAD) and the University of Barcelona. She was a resident artist at the Casa de Velázquez, Madrid (2009–2011), and has since exhibited internationally, with solo and group exhibitions across Europe, the United States, Asia, and the Middle East.
Her work has been presented at major art fairs and biennials, including Beijing and Dakar, and is held in significant public and private collections such as the National Art Museum of China (NAMOC), Fundación Miró, and the Museum of Fine Arts of Madrid, Mangrove Foundation, Fondation Bernard Magrez…. She is the recipient of the Albert Maignan Prize (Fondation Taylor, 2020) and the Georges Wildenstein Prize (2011).
Since 1989, Diana Lowenstein has been part of the international art scene through her role as an active gallery owner and director, first under the name Der Brücke and now as the eponymous Diana Lowenstein Gallery.
Mrs. Lowenstein began her career as a gallerist in Argentina, fomenting young local artists as well as organizing exhibitions of world-renowned foreign artists.
Participating in high-caliber art fairs like FIAC in Paris, ARCO in Madrid, Art Basel, Art Chicago and Art Miami has been a staple in the gallery’s operation. Furthermore, Diana Lowenstein has been part of numerous organizing committees of these fairs, being able to influence their orientation to include a quality Latin American mix of talent.
In September of 2000, the gallery headquarters were moved to Miami. It is now based in Magic City District, the gallery has thirty-two years of specialized experience presenting contemporary art in the United States and across the globe. The Diana Lowenstein Gallery runs a year-long exhibition program in Miami and participates in the world’s most exclusive art fairs, presenting the works of its stable of international artists. She has made it possible for many of her exclusive artists to exhibit works in major world museums and biennales.
