Muriel Leray — À propos — Slash Paris

At the same time interdependent and independent, the frame and the word seem to organize an ensemble hierarchized on the model of opposition. Drawing the outline of a void, the rectangle defines a space that acts in contradiction with the seeming volubility of the text.
Contradictively allowing the artist to extract her work from an over-talkative world, it’s weakened in its syntax that the latter superposes or surrounds its counterpart frame. Keeping only its asperity from the text, Muriel Leray creates a stumble that makes the track derail and once and for all breaks off the ensemble’s homogeneity.
The tipping point of this “faire peu” operating through subtraction takes place in the gap that separates the text from its geometrical neighbor. The frame as a “block” in this ensemble that seems to be so precisely well oiled could almost be the first to experience this flaw. By hollowing the space where one would awkwardly try to induce meaning, the artist takes her work away from a world that would accept everything and wouldn’t sort through anything. The data capture failure causes the big loud machine to go into defunct mode, enabling each and every one to take some time out.
(Excerpt from a text written by d’Elisa Rigoulet)