The DNA garden (Le jardin d’ADN) catalogue, by Sylvain Paris with text and photo by ssayan (who also served as model for some drawings), F. Deville Editions. Produced for the exhibition with the same name by Sylvain Paris, ABAO Gallery (Brussels), October 2012.
The DNA garden is more than an earthly paradise, consisting of interlacing with serpentine convolutions, whose undulating rept evokes, from saurians to dinosaurs, archaic structures of micro and macrocosm: the inside and the outside, and this border between both, immanent metamorphosis of our ongoing search for equilibrium points.
DNA takes shape as innuit, super Eros with an elephant-head, a kind of postmodern Ganesh with a cartoony universe. Naked as the source, unformatted being, innuit plays with social codes to reinterpret the relationship between men and women.
Because paradise is inhabited by the woman, ssayan, multiple character, both wild and sophisticated. Hybrid creature that looks like a manga: in Japanese language, manga is the aimless image (a free line) and the idea’s framework: she’s the paltry link between innuit and the rest of the world.
There are arabesques and interlaces in ssayan’s body, on her body-paintings.
She’s an interface: projective space of connection between the artist and the spectator, between the self and the other, between the same and the alter.
Together, innuit & ssayan form an universe which abolishes the dualities, the contradictions and the paradoxes of time and space, to join the feminine and masculine, what goes and what remains, the future and ancestral…
The look gets one step aside: the heaven is here the freedom to consider the things otherwise, in a posture of possibles.
Excerpt from The DNA garden
abao is a House for Books and Tea, a scented lull, where innuit & ssayan booked a storm in a tea cup…