Sabine Delafon Corporation: Testament

Friday, May 25, 2018

Testament

Jeremy Deller 13.04.18

Andrea Bowers 11.04.18

Mao Tongqiang 11.04.18

Jimmie Durham 9.04.18

Bertrand Lavier 11.04.18

Margherite Humeau 13.04.18

Nate Lowman 5.04.18

Gianluca Concialdi 5.04.18

Guido Van Der Werve 9.04.18

Wednesday, March 25, 2015

Nice words by Martina Alemani

Courtesy of Sabine Delafon

I perfectly remember when I got closer to Sabine’s sensibility and I set with her at Bar Love’s counter to share drinks and thoughts about her art activity.

An e-mail exchange begun then and she invited me to visit her studio where she received me with a coffee and a typical Carnival’s cake. I see her like this: a mix between a strong, bitter woman and a sweet child reflecting her daughter Napoline.

Courtesy of Sabine Delafon

My attention was caught firstly by the works with glass she made, a parallelism to the research on self-portrait by shooting herself in passport photos. The following step was to make portraits of people she knew by using the glass and other materials for the details. The answer on one own’s identity is never clear but esoteric.

This subject goes on with the use of her name contaminated by other people that then overstep the artist’s level by wearing Sabine Delafon’s name on a t-shirt – as one of her collaborations with the brand Marios – or sign her business cards.

Courtesy of Sabine Delafon

Then at one point watching her works’ documentation became like a card’s game full of iconic symbols: the four-leaved clover, the heart, the star. Repetitiveness and multitude are her way of spreading these words, making them visible around cities for a wide public and response in a “legal vandalism”.

Another present theme is the survey on “the other half of the orange”, as she likes to define it, by trying to find lookalikes in the universe and human kind here seen as unknown, God and hereafter.

Courtesy of Sabine Delafon

This impossibility gave life to Sabine Delafon Corporation, her fulfill by making people / other artists part of her works. But not even this was enough and The Emilie La Reine Foundation was created with anonymous collaborations and by using a second-name, Emilie, pretending to be a queen. “I am hungry” billboards and artists’ exchanges are on going after that.

I see her as the feminine version of Franco Vaccari.