![]() ![]() The monochromatic rockets are interpreted as luminous and animated sculptures, with an immediate visual impact. Completely red, the firework has been converted into a mark of urgency. It transgresses moral and legal rules to introduce a radical perception that goes beyond the classic compassional approach. The clandestine performance uses a powerful paradox, representing a tragedy with a universally festive symbol. The idea was to create a firework, inspired by the meaning and color of the flare. As a metaphor for the woes in the Mediterranean, I was attracted to the red distress flares that sailors use. To discuss refugee shipwrecks, I wanted to use maritime codes. It exposes a freed representation of the migratory drama, currently determined by either death or a clandestine life.Ĭan you explain the duality of watching the fireworks? Why red? It happened at night, isolated somewhere in the Mediterranean, without an audience or any formal authorisation. The project’s date and location are neither indicated nor shared. I wanted to consider the whole of the Mediterranean, not just one specific zone or one specific time. Today, it’s a water border where shipwrecks of exiles are a repeating occurrence all across the region. The Mediterranean is a symbol of utopia and tourism, historically tied to commerce and immigration. The challenge was to lay bare the facts of an extreme reality, without actually revealing images of migrants or following media portrayal norms. As an artist, one must offer a different perception. This massive influx of refugees is traumatic to our period, and is heavily covered and commented on. In the 2000s, these migrations already existed in the Canary Islands and the Straits of Gibraltar with a similar mode of operation: an uncertain crossing on an overloaded boat. Then, notably due to the Syrian conflict, the displacements became concentrated around Lesbos. At the time, the shipwrecks and arrivals were noticed around Lampedusa, a small Italian island off the coasts of Tunisia and Libya. I observed the migratory phenomenon in 2011, when I was a student studying political science. The notions of tension and failure, notably due to migration, are a constant in my works. I operate at the crossroads of information analysis and visual creation. Can you explain the situation which led you to reinterpret fireworks while in the middle of the Mediterranean Sea ?
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