CAN I COULD | Canne et pâte à bois | 2006                                                

© Ph  Yohann Gozard

Exposition LA JOURNÉE CONTINUE | Musée Calbet | Grisolle.  2012.                                                                                                                                                                  

LA JOURNÉE CONTINUE | Housse capitonné avec galon et mousse polyesther  | 150 x 140 cm | 2011

© Ph  Yohann Gozard

15 photographies  30x45 cm sous cadre 35 x50 cm | 2012                                                                                                                                                                                              © Ph  Yohann Gozard


Babeth Rambault, with her objects, has the  remarkable ability to highlight the world’s insignificance. Given her treatment this absurdity disconcerts the orderly society in which she finds herself maladjusted. Her ingenious gaze thus implies a radicalisation of the feeling of estrangement of the self from the world. bringing to light little signs which allow us to understand that we are in the fourth dimension. This dimension is a wonderland where, like, Alice, wants to understand what is happening to her and the meaning of other’s actions, for in this world nothing is obvious. We can thankfully feel reassured, for here the relativity of references are evident, this relativity prepares us for the fall - we are going to fall down any deeper.

As if to show her good faith, Babeth has brought back a few photos from her wanderings, to demonstrate the veracity of this world. That is why her photographs of hedges show the determinism of an object, independent of her and of its function. The object ’hedge’ is far-fetched. It follows its own logic and eludes all reason. the ‘hedge’ wants to be beautiful, all done up, it wants to break away, attack...It wants to be seen, noticed, though small signs of trimming that also reveal Babeth Rambault’s empathy for the object. A pathetic empathy that makes the miserable desire of the hedge seem pathetic. It has tried, this poor hedge, but its efforts have been futile, it will always remain stuck to its wall, gaping, open-mouthed.

‘hedge’ : fence of low trees or shrubs, marking the boundaries of territory. Starting with this common definition one is able to understand a dominating element in the definition of babeth Rambault’s territory. An edge to define the centre. A frame to define the picture or the photograph. An incised definition. For the frame indicates that the works is there, it is framed, therefore formatted, placed within a genre. To show the frame while forgetting the work is to thumb one’s nose at the normativity  - or ‘ought’ - ness - of the artwork. The fence or hedge is a non-territory, and it is here that Babeth Rambault has placed herself specially, to observe the world.

In this preposterous world one works all day non-stop...Yet another aberration that Babeth Rambault is pointing out, for here, one this plinth-mattress, sleep or inaction has been elevated to the rank of Art. It is glorified and becomes a possible rebellion to the norm : an enormous mattress, outside the commons norms. An implicit authorisation flows from it : the right to inaction, a useful and necessary inaction - an active inaction. Resignation in action, sleep in action, rest in action, as an alternative to the ‘ all day non-stop’ during which human  conscience is put to sleep. In the ‘popular’ conscience the artist is an idler, but she is also someone who allows herself, come hell or high water, the disgrace of being horizontal and of dreaming. the verticality of this mattress implies the horizontality of human nature and vice versa. [...]

Violaine Sallenave 2011