One of the particularities of our era is that we literally wish to get to the root of things. In seeking to grasp the very essence of Nature, we create a troubling confluence between the works of Nature and those of Art. Human touch may now intervene in the creation of living forms, thereby attaining the most fundamental elements of life. This touch is even able, in some novel and perverse way, to mark these works of destruction and death with a fatal beauty and almost intolerable purity. Humankind has thus created a difficult and dangerous communion between Nature and Art, between what the Greeks termed physis and technè. These hands, this touch, now pray to the reflection below. What these hands previously sought to attain above, they now seek below, reaching for the fragments of what hope remains.
Jannick Deslauriers’ work is a testimony to the poetry of our times. She expresses the helpless vulnerability we may feel when faced with the grace and beauty of created forms, which are at once disturbing and astounding. The same hands simultaneously both weave a story and unravel it. Elements from Jannick Deslauriers’ work create a discourse between fear and dreams, between civility and death, between harmony and conflict, between fantasy and horror. Her work expresses a dream which enables us to comprehend fully the contrasts inherent in our human condition and which allows us to understand our true nature.