{"id":285,"date":"2025-09-26T14:57:09","date_gmt":"2025-09-26T12:57:09","guid":{"rendered":"https:\/\/honorinetepfer.com\/?page_id=285"},"modified":"2026-01-02T16:14:30","modified_gmt":"2026-01-02T15:14:30","slug":"assemblages-2022-24","status":"publish","type":"page","link":"https:\/\/honorinetepfer.com\/en\/assemblages-2022-24\/","title":{"rendered":"Assemblages: since 1990"},"content":{"rendered":"
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ARTISTIC APPROACH<\/strong><\/p>\n\n\n\n

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My assemblages are made of bones, skins, pits, shells, branches, wood, wire, concrete, glass, and other elements chosen for their material and tactile properties, whether transparent or opaque, mineral or vegetable. These are humble materials provided by nature or materials from demolished buildings. They may be a transparent plant leaf, a prickly chestnut husk, soft sheep's wool, or the shaggy hair of a Himalayan yak; all these elements have their specific rough edges.<\/p>\n\n\n\n

Delicate by the drawings of wire, mineral from the glass, darkened by the opacity of bone, or permeable like skin, the works strive to smile, scream, and cry. <\/p>\n\n\n\n

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The works are chimeras and sometimes caricatures of myself.<\/p>\n\n\n\n

The extreme challenge in combining disparate elements is to transgress convention in order to occupy reserved spaces, just as we scribble in the white margins of the private notebooks of our feelings nourished by freedom, sadness, and rebellion.<\/p>\n\n\n\n

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