Leon Radegonde (left) and George Camille (right)
George and Leon are telling the international community that the Seychelles are more than the picture perfect postcard of sandy beaches, palm trees and turquoise waters. They address contemporary issues of identity, economic policies and environmental impact.
George Camille (b. 1963)
These alien metal creepers, here installed in an old ruined chapel, are like ropes that threaten to tie knots around us. “In the steady insidious progression of these pest plants,” George says, “I see a metaphor for the problems affecting Seychellois society.”
"Lalyann Anvaisan" means "Invasive Creepers" in the native Creole Language. The installation addresses the precarious balance between economic development and its environmental impact.
Lalyann Anvaisan ( Invasive Creepers) (2015-04-01) by George CamilleSeychelles - Biennale Arte 2015
George Camille uses multitudes of thick industrial cables. Each cable is stripped back and the internal wiring is then teased from its dark casing and shaped into leaves.
Lalyann anvaisan (Invasive Creepers) (2015-04-01) by George CamilleSeychelles - Biennale Arte 2015
This multi-media work uses materials which have been decommissioned, reclaimed and sourced locally in Seychelles
"Invasive creepers" is the largest work created by George Camille. Multitude of thick industrial cable cascade from free-standing metal frames crowned with tanks full of sump oil.
The same electric cables used in massive hotel on the island are splayed open to reveal the leaf forms of the invasive vines; these are wrapping around the rafters of the space while the oil is oozing and coating the leaves.
Leon Wilma Lois Radegonde (b.1950)
Léon Radegonde presents works on canvas which dug through the layers of Seychelles' rich yet at times troubled history. Each canvas are intricately worked to encapsulate as well as reveal his memories and experiences. The resulting time capsules serve as a catalyst to forge forward into the future. Out of his dark canvas a new light is emitted.
His work consistes of weathered canvases, 'objets trouves', where he leaves his marks of petroleum stains, sun bleaching and decaying earth, all inscribed, sewn, and seared
For 55-year-old Radegonde, it is more of a paint-on-canvas affair, portraying his memories and experiences from childhood.
On a piece of jute fabric from a gunny sack there are inscriptions that make us think of a message in some ancient script, except that when we look at the material against the light the messages on both sides merge and confuse us.
“I wanted to show something that is adrift,” Léon says. Slave, sea travel, Creole, plantation, sweat, breath, agriculture, culture, independence, yesterday, tomorrow – Léon has assembled not only materials and objects but concepts as well.
Seychelles Pavilion, Venice Biennale by Seychelles Art Projects FoundationSeychelles - Biennale Arte 2015
To speculate upon one's future one must understand one's history. The identity of the Seychelles is being redefined at great speed. The often muted voices of its artists are shedding a new light on the richness and complexity of its culture.
How will this sub-text now be played out with its clockwork sunsets?
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