ARTISTS

Manon Monge
& Aurore Pélisson

Aurore and Manon create an immersive installation inviting introspection and rest through the Loges d’Âmes et de Chair. These refuge-like spaces, made from natural and recycled materials, offer an intimate moment of reconnection before returning to the rhythm of the world.

Aurore Pélisson

Textile artist, graduated from the École Nationale des Beaux Arts in Lyon in 2009, Aurore Pélisson moved to London, creating artistic collaborations with, among others, Saint Martin’s School of Arts students.

2011 marked her return to her native Provence and the opening of a textile workshop in her name in Avignon. In search of textures, techniques and imprints reflecting her utopias, Aurore Pélisson works to make visible our intrinsic correlation with the living world. Her work is visceral; Aurore invokes organic matter to reveal another aesthetic, another style, less polished, less rectilinear. It is a vision that is in osmosis with “the flesh of our bodies, the flesh of our earth”, warm and alive.

This aesthetic comes to life through natural materials on the scale of one’s own body. Her techniques refuse plastics or other toxic materials; from the beginning she has preferred to work with raw plants, using vegetable dyes. Her practice continues to evolve to become as close as possible to her purpose – an ode to the living. Take pleasure in looking at and touching the organic aspect of our world

Manon Monge

Manon Monge lives and works surrounded by nature in the hills of Haute-Provence. Her daily life is punctuated by simple, essential gestures: cultivating, harvesting, and transforming. She produces olive oil from her orchard, makes soaps from local ingredients, and creates wild basketry weaving pieces, deeply connected to this intimate relationship with the living world.

Her basketry practice relies on gathering wild plants such as , grasses, twigs, young branches, and edible needles, collected around her home. She braids and weaves slowly, by hand, often letting the material guide the form.

The techniques, often adapted or repurposed, remain open and intuitive, far removed from any search for standardization or protocol. Her pieces exist at the boundary between object and sculpture; they emerge slowly, leaving room for the unexpected, for lightness, for emptiness, and bearing the mark of time, of repeated gestures, of attentiveness. Her work is a way of inhabiting the world, where creation and contemplation are one.