{"id":6738,"date":"2026-04-04T08:03:49","date_gmt":"2026-04-04T08:03:49","guid":{"rendered":"https:\/\/samuelperche.com\/?page_id=6738"},"modified":"2026-05-14T09:02:49","modified_gmt":"2026-05-14T09:02:49","slug":"projet-les-metamorphes-duplicate","status":"publish","type":"page","link":"https:\/\/samuelperche.com\/en\/projet-les-metamorphes-duplicate\/","title":{"rendered":"the metamorphs project"},"content":{"rendered":"
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Afin de participer au financement de la mise en oeuvre du projet, un campagne de collecte participative est ouverte sur Kengo.bzh<\/p>

\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\n\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\tLien vers la collecte participative Kengo.bzh<\/span>\n\t\t\t\t\t<\/span>\n\t\t\t\t\t<\/a>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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the metamorphs<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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Les trois sculptures qui composent the metamorphs<\/em> <\/strong>forment un ensemble de corps en transition. Elles interrogent l\u2019instant o\u00f9 un corps quitte un \u00e9tat pour en embrasser un autre. La sculpture n\u2019est pas un objet fig\u00e9 mais un prolongement : un espace d\u2019alt\u00e9ration, de construction et de mutation.<\/p>

the proposal<\/em>, the dance <\/em><\/strong>and tir\u00e9sias<\/em><\/strong> proposent des corps relationnels, fa\u00e7onn\u00e9s comme des \u00abimages obliques\u00bb<\/em>1<\/sup> d\u00e9viantes, d\u00e9s\u00e9quilibr\u00e9es mais affranchis. L\u2019identit\u00e9 queer est pos\u00e9e comme une \u00abidentit\u00e9 d\u00e9sessentialis\u00e9e et purement positionnelle\u00bb<\/em>2 <\/sup>accueillant tous les corps invisibilis\u00e9s, des personnes transgenres aux personnes amput\u00e9es.<\/p>

Ces \u0153uvres convoquent \u00e0 la fois les identit\u00e9s marginalis\u00e9es et l\u2019h\u00e9ritage des statues grecques : des figures qui rompent leurs entraves pour se mettre en mouvement et briser la \u201cligatio\u201c, ce pouvoir paralysant qui op\u00e8re dans toute image.3.<\/sup> M\u00eame fatigu\u00e9\u00b7e, fractur\u00e9\u00b7e ou incomplet\u00b7e, se relever, s\u2019\u00e9treindre et persister deviennent des mouvements de r\u00e9sistance et de pr\u00e9sence.<\/p>

R\u00e9alis\u00e9e en bois de palettes, les oeuvres transforment le rebut en chair et font de la pr\u00e9carit\u00e9 une force symbolique. L\u2019usage de mat\u00e9riaux de r\u00e9cup\u00e9ration engage une r\u00e9flexion sur les cycles, les restes et les devenirs, \u00e0 la crois\u00e9e d\u2019enjeux \u00e9cologiques et politiques.<\/p>

Le travail de facettes, de courbes et de torsions mat\u00e9rialise la performativit\u00e9 et la pluralit\u00e9 dans la mati\u00e8re elle-m\u00eame, entre puissance, fragilit\u00e9 et d\u00e9s\u00e9quilibre. \u00abStructur\u00e9 comme une ossature mais d\u2019aspect lisse et doux comme une enveloppe de peau, le bois de la sculpture synth\u00e9tise l\u2019impossible alliance des os et de la chair.\u00bb <\/em>4<\/sup><\/p>

La cr\u00e9ation se con\u00e7oit comme espace\/temps \u00e9volutif : modules et \u00e9l\u00e9ments peuvent \u00eatre activ\u00e9s, reconfigur\u00e9s ou ajust\u00e9s selon les lieux, \u00e0 diff\u00e9rentes \u00e9chelles. Corps et sculpture deviennent des territoires vivants, travers\u00e9s, instables et profond\u00e9ment humains.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\"Now I am ready to explain how bodies have transformed into other bodies.\"
Ovide, Les M\u00e9tamorphoses, 8 ap. J.-C.<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"Les\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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the dance<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Metamorphosis appears as much as a vital necessity as an act of resistance: that of existing in a space, in the fluidity of our queer bodies and in their movements. Seeing bodies but not being sure that they are bodies and not knowing which bodies they are.<\/p>

Dans the dance<\/strong><\/em> , fractures and imbalances are inscribed. In a precarious in-between \u2013 between three, between four? \u2013 a new body imposes itself, incomplete and yet born from repetition and number; like a process always in the process of being made, unmade and reinvented in order to resist.<\/p>

Each perspective reveals a different interpretation, affirming that identity is never fixed but fluid and relative to the gaze and judgment we place upon it. Dance as a space for action and resistance, for embodying and bringing these identities into being.<\/p>

As if drawn by an axis whose verticality wavers, an axis hidden from the world's view, the sexes converge and identities turn their backs on the society that rejects them. The points of support are not yet stable; they are broken, amputated. But together, collectively, the whole stands upright and attempts to extract itself. In any case, it rises. Drawn by a force whose power surpasses it, its separations and reconciliations dominate us. The idea we form traces invisible but shifting boundaries, relative to the gaze and judgment we cast upon them. Dance as a space of action and resistance, to embody and bring these boundaries into being.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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la danse \/ croquis de recherche<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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the proposal<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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la demande \/ croquis de recherche<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Perhaps they are two body parts, bound together and held in a single intention. It is a tight embrace made of volumes that are at once massive, unstable, organic, spherical, solid, and light. Two busts that evoke the hybridization of form, flesh, and thought.<\/p>

Between birth, rallying and twinship emerges a form that refuses norms and definitive assignments: an entity in molt, activated from within.<\/p>

Because I wanted to enter their body. Between fusion and extraction, in an almost globular way, the form created combines two forces in full morphological recomposition.<\/p>

In this kiss that unites matter, both Brancusi and Superman inspire the movement. The embrace, the caress, and the strength evoke struggle as much as pleasure, love and mourning. It is about combining a \"political message and a poetic aesthetic,\" about questioning masculinity through the power of tenderness.<\/p>

It is not out of lightness that they seem to rise up and dance: they are protecting themselves from the outside world. They do not look at us, but their presence infects the space like a legitimate, intimate, and collective demand to be respected.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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tir\u00e9sias<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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In Sophocles' time, Tiresias was the only mortal to have known \"the sexual metamorphosis\"<\/em>.<\/p>

Against the dominant divine power, against the assignments, I propose the trans-serval and the sensible of another reality of bodies.<\/p>

In a process of revising the notions of verticality and horizontality and their political symbolism, Baselitz's principle of reversal inspires rotation and reinforces the subject's desire for ambiguity and legibility. After being turned, the verticality is extended and becomes lascivious. Around this horizontality, coiling, clinging, interpenetrating, a form repeats and modifies itself. Above, below, limbs, genders, and bodies abstract themselves from formal constraints. The form embraces the ground, the earth, or extricates itself from it.<\/p>

In the pose of an odalisque but not constrained, the form seems to reflect itself, like Narcissus, like a mirror that constantly reminds us what we are not.<\/p>

The body is dysphoric but dreamt of. It becomes possible, possessed, personal, beyond norms: prophetic.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"tir\u00e9sias\"\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\"metamorphes\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\n\t\t\t\t\t\t\t\t\t\t\"ali\t\t\t\t\t\t\t\t\t\t\t
Ali, installation, 2020<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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\u00e9pisode meta<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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La construction du corps queer passe souvent par la reconstruction. \u00c0 l\u2019image d\u2019un corps fragment\u00e9 cherchant \u00e0 se rassembler, son identit\u00e9 interroge : comment se construire en dehors des normes.<\/p>

A la crois\u00e9e de l\u2019\u00e9cologie et des pens\u00e9es queer \u2014 telles que d\u00e9velopp\u00e9es notamment par CY Lecerf Maulpoix \u2014 cette recherche envisage le corps comme un \u00e9cosyst\u00e8me instable, travers\u00e9 par des flux, des d\u00e9pendances et des transformations.<\/p>

Ce r\u00e9sidence fonctionne comme un laboratoire d\u2019exp\u00e9rimentation de formes sculpturales et de repr\u00e9sentation des corps. Les m\u00e9tamorphoses qui s\u2019y d\u00e9ploient naissent de m\u00e9tissages et de confluences. Le projet de recherche a vocation \u00e0 \u00e9voluer au file du temps et des rencontres humaines, ainsi qu\u2019au contact des lieux de cr\u00e9ation. Cette r\u00e9sidence pourrait s\u2019intituler \u00e9pisode 1 meta. <\/em><\/p>

Un travail de collaboration sera engag\u00e9 avec des structures du champ m\u00e9dico-social, du handicap et du handisport. En allant \u00e0 la rencontre d\u2019autres personnes concern\u00e9es*, il s\u2019agira d\u2019imaginer avec elles des proth\u00e8ses hybrides, chim\u00e8res de bois,\u00a0 exosquelettes autant qu\u2019abattits ; sculptures de substitution, entre membres fant\u00f4mes, presque arch\u00e9ologiques et r\u00e9parations bancales.<\/p>

Dans l\u2019immobilit\u00e9 des objets se fixeront les mouvements humains et individuels.\u00a0<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Afin de participer au financement de la mise en oeuvre du projet, un campagne de collecte participative est ouverte sur Kengo.bzh \u00a0 Lien vers la collecte participative Kengo.bzh les m\u00e9tamorphes Les trois sculptures qui composent les m\u00e9tamorphes forment un ensemble de corps en transition. Elles interrogent l\u2019instant o\u00f9 un corps quitte un \u00e9tat pour en […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-6738","page","type-page","status-publish","hentry"],"yoast_head":"\nProjet Les m\u00e9tamorphes – Samuel Perche<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/samuelperche.com\/en\/projet-les-metamorphes-duplicate\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Projet Les m\u00e9tamorphes – Samuel Perche\" \/>\n<meta property=\"og:description\" content=\"Afin de participer au financement de la mise en oeuvre du projet, un campagne de collecte participative est ouverte sur Kengo.bzh \u00a0 Lien vers la collecte participative Kengo.bzh les m\u00e9tamorphes Les trois sculptures qui composent les m\u00e9tamorphes forment un ensemble de corps en transition. 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