For Le fil d’Ariane, Aude Moreau draws on subjects from this myth’s internal structure such as the Minotaur’s room, the labyrinth, the thread and the ball of thread. The artist re-visits these semantic fields emphasizing time, gesture and thought.

During the first three weeks, the artist will systematically work in the exhibition space. In an empty room, she will successively remove the many layers of red paint that cover the walls and floor. Labyrinthine traces become apparent at the same time as a “thread” of latex appears and is made into a ball. The space “unfolds” and is wound up on itself. These traces are the result of a repetitive motion and contain a flood of associations and thoughts conceived by the artist. They are the expression of both an internal and external voyage in the labyrinth.

Translation : Janet Logan

I am thinking of the Minotaur’s room where young girls dressed in white were given as peace offerings. I am thinking of this man who must have ripped out the entrails of the monstrous and ever so slightly splattered the walls of the labyrinth; and also Little Red Riding-hood, a steak dress and flesh. I am thinking of red when all is said and done. (…) I am thinking of Ariadne’s thread, an umbilical cord, knitters of sweaters too small or too large, strips of flesh, Achilles’ tendon and more. I am thinking of a red car door casually and savagely scratched all along with a key, my red-hot stove burner that tattoos the bottom of my saucepans, intestines that if they are unwound will measure several kilometres in length and boundless red lace. (Aude Moreau)