Sahal's oeuvre and its forms are in fact in accordance with the idea of a primitive chaos that existed before the world was arranged into fixed categories. Her work establishes an era in which a tired and toxic masculinity gives way to other forms of being in the world. For her, a human being is neither man nor woman, but rather a spectrum leading to an utopian new world where the binaries underpinning modern Western philosophy (human/non-human, masculine/feminine, body/spirit, interior/exterior) are no longer relevant. Elsa Sahal prefers entities that are tired, lying down, and influenced by their environment (whether this is the marine world in her Fontaine ), or even baby pink, the color of girlhood in our globalized Western culture). The sculpture, an organ in decay, metamorphoses and reveals itself as unstable as flowing lava. The theme of the mutant body, which stretches, produces and ejects new forms, is notably addressed in a sculpture by the artist on the subject of maternity (Grotte généalogique, Geealogical Cave, 2006).
Dive into Female Factory, where the clay and the flesh, the body and the ceramics become one. Sensual, obscene, bordering on the grotesque, the substance flows like lava, constantly redefined by a logic of its own. Elsa Sahal approaches the history of the sculpture, erectile because essentially male, with the gauge of feminism guided by the...View More