Bois peint, acier, asphalte, 800 x 250 x 240 cm.
Painted wood, steel, interior covered with asphalt, 800 x 250 x 240 cm.

Dans cette pièce en forme de commentaire sur l'emballage général de l'espace urbain, l'artiste a associé l'aspect extérieur d'une caravane à celui d'un packaging commercial, en la recouvrant du sol au plafond d'une couche d'asphalte animant et suscitant ainsi le déplacement du regard dans ce qui constitue le matériau même de la circulation.

In Pink Flamingos, John Waters depicts a family of delinquent and degenerate nomads living in a caravan. The film’s title refers to a deflated pink-flamingo-shaped buoy carelessly set near the vehicle in question. Under a magnifying glass an insignificant detail becomes a telltale sign of a certain context. In Mobilis in Mobili, a fruit juice can littering the floor lends its shape to the caravan. The piece is a negative version of Cinderella’s pumpkin coach, which is no longer associated with a fabulous palace or an art center, but rather a neighboring suburban building lot. The repositioning of a household commercial object within the dimensions of a trailer or caravan is a form of commentary on the general packaging of urban space. The caravan’s interior is covered from floor to ceiling with a layer of asphalt, gving life to and drawing the viewer’s eye into what makes up the very material of highway travel.

Vue d'exposition, Centre d'Art Contemporain de Brétigny-sur-Orge, 1996.
Exhibition view, Centre d'Art Contemporain de Brétigny-sur-Orge, 1996.