Mary Lydon is fascinated by the uncanny atmosphere of remote and abandoned buildings. She works in situ with her spray paint, humbly reinscribing some shape and aesthetics in a clustered and degraded landscape. Her artistic gesture of photographing or sculpting is a way to seize what is falling apart. Some of her actions may remain unnoticed, but still play a cathartic role to momentarily escape from the disorder of our contemporary ruins.

Alexia Chevrollier artificially speeds up the process of iron oxidation in order to extract some “rust juice” which she uses as a replacement of traditional paint. From variations of reddish-brown colors emerge shapes like veins of trees or paths in a landscape. The aesthetic result has something intriguingly organic to it, even though the use of rust as the main material both alludes to industrialization and to the entropic degradation of matter, metaphorically accelerated by the human hand.

Maria Drozdova’s performance embodies our collective consciousness facing the ongoing ecological disaster: the mirror, once cleaned out of the soil which covered it, reveals the human face of the artist as a metaphor for our denial regarding the emergency.