Drawing, writing, translating, mapping, sequencing, binding, bookmaking, assembling. Experiments with narration and its malleable edges.
fabre[dot]margot2@gmail[dot]com
Drawing, writing, translating, mapping, sequencing, binding, bookmaking, assembling. Experiments with narration and its malleable edges.
fabre[dot]margot2@gmail[dot]com
2023 - Ongoing. Illustration, writing, sequential drawing.
How do myths and oral histories provide us with a sense of self? This research focuses on my matrilineal familial history anchored in rural Pays de Gascogne, France, between my great grandmother, my grandmother, my mother and I. What forms does generational trauma take in our bodies? What silenced histories do our dreams and nightmares tell? Is carpal tunnel inherited? I excavate stories of violence and forgetfulness, bodies and caregiving, labour and pain, bones and nerves. Over the past few years, I have gathered voice recordings, written notes, riddles, recipes and medical histories from my grandma's farm and from relatives. I develop the protagonists, heroes, plotlines and artefacts of these stories.
Spy Press Journal.
2023 - Ongoing. Logo, illustration and design.
“'Poetry' – the word and the product – is NOT sacred, IS mutable, and SHOULD be replaced with "politics", "art", "baking", "film" and "cabinet-making" as one possible means to record life.”
— F.R. David Magazine, Issue 9: This is Not New, of Course
Spy Press Journal is an experimental literary magazine dedicated to excavation of imperfect writing.
2023 - Ongoing. Logo, illustration and design.
“'Poetry' – the word and the product – is NOT sacred, IS mutable, and SHOULD be replaced with "politics", "art", "baking", "film" and "cabinet-making" as one possible means to record life.”
— F.R. David Magazine, Issue 9: This is Not New, of Course
Spy Press Journal is an experimental literary magazine dedicated to excavation of imperfect writing.
Paris est une promesse.
2018. Digital printing, postcard stand.
The project is an attempt to short-circuit and disrupt stagnant representations of the city of Paris, perpetuated by stale tourist imagery. I collected sounds and fragments from daily itineraries in the 18th arrondissement and built an [index] archive of vernacular signs. This investigation is embodied in the process of tracing and retracing, never settling into a fixed form, a sensorial experience of the urban environment and reclaiming its clichés. I then extracted a visual vocabulary of signs and built a souvenir display that celebrates the uncanny, singular landmarks and shop signs. The postcard becomes a generative canvas for articulating a sense of place and desire.
2016
From 2014 to 2016, I resided in a foyer in the 18th district of Paris. This five-storey rent-controlled building is located at the intersection of Pigalle, Place Clichy and Porte de Clignancourt. The community we formed and our lived relations to this neighbourhood is the starting point of my research. Drawing from artistic forms derived from the Situationist International movement and concepts of psychogeographies, I explored maps as sites for poetic expression, experimentation, self-authorization, and mischief-making. What emerges is the possibility to construct new landmarks, rhizomatic borders and expanding relations. This series of assemblages is a meditation on ruinous forms, such as flags and atlases.