Loriane Thibodeau

In my artistic researches, I am interested in pop iconography and "non glamour" subjects in general. Notions around tools, containers and surprises are pretty common in my work; trucks and transports (ciment trucks), pottery (funeral urns), fire hydrants, etc. Thinking about the ephemerity around us, piñata is an interesting representation of a pop sculptural object, perfectly made to be unmonumental as a utilitarian sculpture.

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In our social distancing context, I see particularly ironical to prepare a piñata for a social event that won't happen for sure. Presenting isolation but also wait and hope that, maybe, some friends could join the party, I tried to put a little satire by the mask worn by the character even if she is clearly alone. She is definitely ready for friends! Few different tools of destruction for the piñata also suggest that friends, if they come, will have the choice of their favorite one. Another part of irony is the fact that, waiting alone in the park, we can guess that the character possibly organized her own birthday party. 

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The misappropriation of the plinth was for me a symbol of the audience as the artist; without the action of the audience (that could be friends, visitors, anybody), this utilitarian sculpture would not make sense. We recognize the piñata object and what it is for. The long waiting and calm moment at the beginning should culmine with the joy of destruction. But in this project, we can't see joy even at the very end. The character seems mostly disappointed, frustrated. The time of the day for a birthday party, the attitude of the character and the subject of the piñata are bringing a child drama to the narrative.

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Through my readings, I discovered that piñatas history has a direct connection with pottery. I also learned that in many countries people burn them as another way to symbolize the growth in the New Year. A poetic way to see good changes to come.

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C'était mon anniversaire

December 2020