When we talk about Mathilde Roussel and her artistic relationship with nature, it is inevitable to talk about Life of Grass, a series of hanging sculptures made of recycled metal with anthropomorphic shapes, filled with grass, earth and seeds that will become pieces of green grass. The piece revolves around the concept of transformation. And death. For the French artist and designer, nature is inevitably linked to annihilation. As with many of today’s contemporary artists, Mathilde Roussel understands that the human being is not an entity alien to nature. There are no two separate entities that coexist by inertia. The human being is a product of nature. And this is not only affected by human activities, but also adapts to them. In Life of Grass a human figure seems to have mimicked the earth. His driving force comes from her. But also his fateful fate. Life of Grass can be a sculpture or even an installation.
In the rest of her work, the French artist reflects on the organic. The residence space for artists Pioneer Works defines it as follows, “Roussel progressively gives up control over the materials she uses by letting them find their own form of existence. She selects mediums that are both fragile and resistant: paper pulp, graphite powder, incised rubber or plants. This choice allows her to explore unstable forms and observe their continuous mutation. Through incision, opening, recovering and suspension, the artist forces the forms she produces to find their place in space, thus expressing and revealing the movement they contain in themselves. To a larger extent, Roussel’s practice seeks to record temporalities that inhabit our corporeality: aging, hardening, scarring and mutation. Thisresearch consists in producing tangible forms that indicate our vulnerability.”Human beings and nature cannot be dissociated. But neither can it be thought that nature possesses human attributes such as morality, wisdom or sacredness.