Through this shift, the artist explores the notions of original and copy. By removing the spire from its context and placing it on the ground, she reverses our relationship with this major landmark of the Le Havre landscape. Visitors can thus closely observe its details, before spotting its silhouette from a distance in the city, where it continues to define the skyline, sometimes serving as a point of reference.
This work engages in a dialogue with the installation on the station’s stained-glass windows. Whilst the sculpture asserts a sombre, physical presence, the stained-glass windows display a luminous and colourful composition. Together, they draw on emblematic elements of Saint-Joseph’s Church and extend its legacy into the urban space.
Entitled Coupes, these works draw on the vocabulary of cinema and photography. They function as samples of the Le Havre landscape: isolated, self-contained fragments that are separated from their original architectural context to offer a new way of interpreting the city.
