MARK DAOVANNARY

MARK DAOVANNARY
Portfolio
MARK DAOVANNARY
Paris, FRANCE
Brooklyn NEW YORK
www.daovannary.com
[email protected]
I would like to develop all my senses in response to dif ferent materials. I hope to continue
learning about the importance of light, shadow, the choice of plastic qualities which all create
emotions.
All of my dif ferent experiences have given me relevant learning to be able to participate in
creating emotion in viewers.
INFORMATION TECHNOLOGY SKILLS
• Excellent computer skills and proficiency in :
•Photoshop, InDesign, Illustrator
•Final Cut
•Arduino, Processing
•Vectorworks, AutoCad, Sketchup, Rhinoceros
•Microsoft Word, PowerPoint, Excel
• Use of web cam, digital camera and recording equipment
EDUCATION
2012 - Present
Preparation of Master’s Degree of Arts
École Nationale Supérieure des Arts Décoratifs – Paris V ème
2014 - 2015
Senior student in the School of Visual Arts – New York City
- Majors : Installation; Performance; Photography and Video; Visual Arts; Visual Culture Studies; Art History, Theory, and Criticism; Cultural Studies
- Minors : Ecosystems/Environmental Systems; Social Practice and Innovation; Sustainable Design; Illustration and Graphic Novels; Interface Design; MobileMedia
2012
Bachelor of Interior Design
Domaine du Gué-à-Tresmes – Ile de France
2009 - 2010 Intensive one-year university foundation course preparing for the competitive entrance examinations in Applied Arts
École Supérieure des Arts Appliqués, Duperré – Paris III ème
2009
High school diploma in Sciences
Lycée Jacques Brel – Ile de France
MATERIAL TRANFORMATION SKILLS
• Skilled at using different material for sculpture : Granite, Marble,
Alabaster, Wood
• Wide knowledge of ceramic, molding, working with wax, synthetic
materials, metals, low fusion and plaster
E M P L OYM EN T H I S TORY
2010 - Present
Assistant Designer - to advise plastic expression, education of the computer graphics tools, elaboration and implementation of cultural events
au Microlycée 93 – la Courneuve (93)
July - August 2014
Project manager industrial design for the client Viet Gragg, based in New York
Art performance in The Centre national d’art et de culture Georges Pompidou – Paris IV ème
May 2014
April 2014
Graphic Designer for the italian fashion brand ICEBERG
April 2014
Exhibition in the University Paris-Dauphine – Paris XVI ème
February 2014
Workshop, International Bamboo Studio, in partnership with the National Institute of Design of Bengaluru (India)
December 2013 Workshop, Blitz, in Mulhouse (France)
in partnership with students of the Art school applied of Basel (Swiss)
September 2013
Assembly of exhibition for the Biennale 109
à la Cité Internationale des Arts, Paris IV ème
August 2013
Assistant to Japanese sculptor Tetsuo HARADA
Modelling or direct cutting sculpture of Granite, Marble and Alabaster
July 2013
Graphic designer for set designer Camille VIDART,
Created « cabinet of curiosity in trunk eye »
June 2013
Training course with sculptor Oriane PONCET
May 2013
Assistant to artist Evariste RICHER
play, Apollo und Hyacinthus
Techniques with synthetic materials
Construction of a work of art for the exhibition Art Basel to Basel (Swiss)
May - August 2011 Set design, assisting designer, draftsman
à l’Agence Klapisch-Claisse, Scénographie – Paris XI ème
February 2011
Follow-up of project, for the theater director Gérard Gallego, Group Instant Présent
CO NTENTS
Sculpture and Installation
6
• Tableau Abstrait / Abstract Piece - The enchanted everyday life
8
• La Boîte à Silence / Silence Box - Strangeness
10
• Les 4000 / The 4000 - Import a place
12
• Chute / Fall - Modify a space
14
• Galerie / Gallery - Walking 16
• Traces de 1871 / Tracks of 1871 - Press article, Liberation, in October 7th, 2013
18
• Vieille Branche / Old Branch - A landmark event
20
• Nam mô A di dà Phat - 1 + 1 = 3 22
• À/Dans 10 ans / At/In 10 years - Accumulation
24
• Superheroes - High and Low
26
• Dégoulinure / Trickle - The yellow color
28
• Entrouverte / Half-opened - Words in opposition
30
• Ardere / To burn - The orange color
32
• El niño - Circles, enlargement, balance
34
• Jeu d’enfant / Child’s play - Somewhere over the rainbow
36
• Ne t’éloigne pas / Do not go away - Souvenir
38
• Avalanche - The accident
40
• Apesanteur / Weightlessness - Reappropriate a work
42
Competition and Workshop
44
46
48
50
• Psychisme / Psyche - Immensity, team-mates Caroline Charrel, Johan Gonthier • Danger ! - Workshop, Nomadism, team-mates Samuel Bégis, Morgane Verdonck • Vivante / Alive - Workshop, Blitz, in Mulhouse (France)
in partnership with the HyperWerk Institute of Postindustrial Design in Basel (Swiss)
• Lève-toi et Chante / Get up and Sing - Workshop, International Bamboo Studio,
in partnership with the National Institute of Design of Bengaluru (India)
• Mur du son / Sonic barrier - Workshop sound experiences with bamboo
in partnership with the HyperWerk Institute of Postindustrial Design in Basel (Swiss)
52
54
56
Video
• Incantation - Base for a sunset • Un Autre Regard / Another Look - An idol
• À Bout de Souffle / Out of Breath - Art with nothing
• Eau Forte / Acid - Performance inspired by a book
60
62
64
Drawing
66
68
70
• Drawing from my imagination
• Observational drawing
Work Experience
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84
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90
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94
96
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Art performance in The Centre national d’art et de culture Georges Pompidou
Exhibition in the Université Paris-Dauphine
Instant Present - Theater Director Gérard GALLEGO
Agence KLAPISCH-CLAISSE - Set agency
Camille VIDART - Set designer
Evariste RICHER - Artist
Oriane PONCET - Sculptor
Tetsuo HARADA - Sculptor
ICEBERG - Italian fashion brand
Sculpture and Installation
6
Tableau Abstrait
Abstract Piece
I like getting lost in my everyday life. I get lost in
my imagination, I notice details without knowing, I
do not see chairs or tables, but forms, colors, texture
and shadows. So many tactile qualities are present
in contemporary sculptures. They compare the literal
space of the suggested, enchanted space.
(H x L x W) : 78.7 in x 118.1 in x 15.7 in
Metallic bars, plaster, felt, cardboard,
diverse fabrics
8
Boîte à Silence
Silence Box
« In the old days when they had secrets they didn’t
want to share, they’d climb a mountain, find a tree,
carve a hole in it, whisper the secret into the hole
and cover it up with mud. That way, nobody else
would ever learn the secret... »
2046, par Wong Kar-Wai sorti en 2004
(H x L x W) : 11.8 in x 19.7 in x 19.7 in
Resin polyester, honeycombed plate of polyurethane
10
Les 4000
The 4000
I pass this place like any street in the daytime
but at night, the landscape transforms. I once got
involved in a fight while walking home carelessly.
I was mistaken for a target. I had not seen them
coming. I have no physical wounds from the event;
nevertheless, I can feel my heart beat faster and
faster every time I am near this place.
(H x L x W) : 47.2 in x 118.1 in x 78.7 in
Perpend, window panes
12
Chute
Fall
I found this television satellite dish in the street,
or rather, she called me. I try to disregard the way
we usually look at space. Generally we make an
overview at a place. By means of the satellite dish,
I amplify the sound of a droplet falling in the space
and observe it in its verticality.
(H x L x W) : 118.1 in x 39.4 in x 39.4 in
Satellite dish of television, water fountain,
chain of suspension, padlock
14
Galerie
Gallery
I think that a work of art is a part of an artist
which is materialized. And so, the artist really
takes to heart every criticism imposed against his
work. During my visit to the Parisian art gallery, I
noticed a recurrence: a « white cube ». I thus created
an installation representing a space, white and
disinfected by art galleries. The latter was aimed at
welcoming an artist.
(H x L x W) : 63 in x 23.6 in x 3.9 in
Cover of suit, molding of face in plaster.
16
Traces de 1871
Tracks of 1871
The barricade is a shape of protest which tends to
get lost. We forget it little by little even if we did
not notice it. Because this symbol changed nations, I
reused a photograph of the last barricade in France,
that of the municipality of Paris in 1871 to testify
this past story.
Supports give various visions, an engraving in the
iron as a track of the past and another vision, more
fragile, as a delicate memory.
(H x L x W) : 0.8 in x 55.1 in x 27.6 in
Cardboard, canvas
18
Vieille Branche
Old Branch
Once I visited one of my neighbors across the
landing. I found an old man, alive, alone and very
sick. He was in a disturbing physical state. I called
the fire department as a precaution.
The man was hospitalized for 2 months. Faced with
this situation, I felt fear, anxiety, and especially the
fear of dying alone. Why did I have these thoughts?
I am only 23
years old.
I represented life by means of a branch. The average
life expectancy for men in France being 77 years
old, I thus illustrated the years I still have to live by
burning 23 centimeters (representing my 23 years)
on a 77 centimeters long branch.
(H x L x W) : 2.4 in x 30.3 in x 2.6 in
A tree branch, burnt by a blowtorch
20
Nam mô A di dà Phat
In Asia, to give an offering, we put gold leaves on
Buddha’s statue. This offering is practiced by a large
number of people who come from different circles of
life. Some people ask for guidance, others thanking
Buddha for a rich and peaceful life.
Bracelets surrounding the statue of « the Buddha »
are not made by the monks to give the bearer luck,
their values are symbolic.
When I was younger, in my imagination, the Buddha
became an immense statue, because of the layers
of gold. In reality, we do not see any more of the
details of the statue than a silhouette.
I think that there isn’t an all-powerful being,
nevertheless, in my moments of doubt or happiness,
I pray. I wear Buddhist bracelets. I wonder about
this paradox as I have no faith in Buddhism but
wonder why I am not indifferent to it.
(H x L x W) : 9.8 in x 3.9 in x 3.9 in
Buddha’s statuette, Buddhist bracelets
22
À/dans 10 ans
At/In 10 years
When we are young, we respect money. We see the
smallest coins as being the biggest. By increasing
our perception of money according to our needs, our
wealth and for our education ...
(H x L x W) : 7.1 in x 9.8 in x 3.1 in
10-centime coins, brazing of silver
24
Superheroes
In front of a work of art, people trust their first
impression and some other people make up an
interpretation according to their cultural knowledge.
Before joining the field of art, I went to an exhibition
of Lucio Fontana. I saw his tears on canvas. For me,
they represented scratches, Wolverine’s spoors. –
Wolverine is a fictional character with claws. But
actually, they were more than just scratches.
I conceived superheroes’ imprints to show what I
interpreted that day at the exhibition.
(H x L x W) : 5.9 in x 7.8 in x 7.8 in of plaster (H x L x W) : 15.7 in x 9.8 in x 0.1 in of iron
(H x L x W) : 7.1 in x 9.8 in x 7.8 in of foam
26
Dégoulinure
Trickle
Yellow was the least favored color in the western
world as it was connected with diseases. In the
nineteenth century, it was the color which announced
a transformation. By means of this information, it
was then possible to create an installation where
the color would be the bait for the spectator as a
warning of danger.
(H x L x W) : 7.9 in x 11.8 in x 5.9 in
Plastic, diverse fabrics, Hot glue
28
I wanted to disturb the vision, to create at the same time an open and closed
door. I created it with an intervening period, where we find the handle of the
door in diagonal. This transition finds itself in the various points of view of
the project. Was the door about to close or open?
30
Entrouverte
Half-opened
(H x L x W) : 82.7 in x 31.5 in x 31.5 in
Wood, handle, purple paint
Ardere
To burn
The orange color is often connected to the fruit, to
vitamin C. I do not think I am the only one to like
good weather, to want to take advantage of the sun
and its benefits. The idea is to create a second skin,
which moults when we need to shed the effects of
the sun.
(H x L x W) : 15.7 in x 11.8 in x 2 in
Latex
32
El Niño
This project represents one moment of an eccentric
or concentric movement... El Niño’s veins refer to
the idea of fragility; we expect the structure to tear.
And so, this transition from stillness to movement is
revealed by its purple base.
(H x L x W) : 15.7 in x 70.9 in x 70.9 in
Cardboard, paper, fabrics, paper glue
34
Jeu d’enfant
Child’s play
« Somewhere over the rainbow « evokes an imaginary world where everything is possible, all the
expectations and all the hopes are achievable. A
cheerful atmosphere and simple attitude relates to
childhood experiences. As children, we build up a
world that seems untouchable and indisputable because it reflects happiness within us. Along with a
joyful sense of our childhood, we tend to protect
it from disappearing into forgotten memories. As a
young child, I enormously enjoyed constructing sets
with transparent and reflective objects, for they had
this magic of capturing and taming light.
I use the element of play to design a world where
light is intangible and impalpable.
I constructed an installation where the same childlike rules apply, using the transparent and reflective
objects in relation with the light. Along with my current knowledge of these rules, I suggest a wired and
ample shape resembling sea jellyfish to offer a link
to the nautical world.

(H x L x W) : 157.5 in x 47.2 in x 47.2 in
Kitchen utensils, nylon thread, Mirror
36
Ne t’éloigne pas
Do not go away
I try to remember my earliest memory. My earliest
memory dates back to when I was five or six years
old, but before that there is nothing, as if I had not
existed. With research, I discovered that this phenomenon occurs in all with a few exceptions. Some
manage to have details of more distant memories,
but according to scientists, the average is around
five or six years old when the hippocampus, the part
of the brain associated with memory, reaches adulthood and continues to develop, becoming capable
of conversing and organizing the memories.
So I have collected, classified, and enumerated my
past, through a family album that represents my
childhood amnesia, from my birth to my five years
old. I presented it on a scale, which allows me to
illustrate that these memories did not abandon me,
but they constitute and represent me as my own.
(H x L x W) : 4.7 in x 15.7 in x 15.7 in
Photo album, weighing machine
38
Avalanche
Many wish for perfect manufactured objects, without
the slightest accident. I wish to cause the imperfection. A vase filled with powdery plaster is sharply
broken. I expect a simple line break on the glass.
The shepherd keeps the imprint of the impact and
the shape of the vase, an unexpected result. The
latter became the container, fragile and temporary.
(H x L x W) : 11.8 in x 7.9 in x 7.9 in
Plaster, glass
40
Apesanteur
Weightlessness
I wanted to reclaim control of this notion of falling
or rather the idea of gravitation. A fall caused by
a natural phenomenon of gravity I bypass by my
breath and let an ink drop fall. I bring it to a canvas
on the wall, simply by pushing my breath. Through
the implication of my body, the canvas adapts one
diameter of 5ft 723/32in, in correlation to my size.
(H x L x W) : 94.5 in x 94.5 in x 94.5 in
Canvas, india ink, buret
42
Competition and Workshop
44
Psychisme
Psyche
What is immensity?
According to us, people, it is what is immeasurable.
We worked with the desire to materialize the
boundless imagination. Imagination is hazardous,
in the manner of the ink which spreads in water
and creates branches and veins... Psyche is as
opaque and clear as an impenetrable and limpid
imagination.
The structure that we gave to this material represents
a stop between the empty mind and its infinite
progress. We restricted imagination by comparing it
to reality thanks to a frame which only reflects and
focuses on a single section of imagination.
(H x L x W) : 86.6 in x 39.4 in x 39.4 in
Tulle, plasticized frame, water
46
Danger!
The purpose is to associate, in a single work,
our respective interpretations (according to our
culture/ personality/ sensibility) of the same word:
« Danger ».
It is a question of revealing the differences bound to
the concept of
danger, according to the places we live in.
A volume in anamorphosis will allow spectators to
read the dangers of Paris and Beirut in a separate
or grouped way. According to the angle of view
of the spectator; a sound track will collect the
testimonies in a random way. Whereas the FrenchLebanese exchanges (fundamental in the creation
of this project) will find themselves on the upper
faces of the various volumes. The set has to allow
the spectator to gradually understand what we were
able to discover over these three weeks.
48
(H x L x W) : 27.6 in x 98.4 in x 59.1 in
Extruded expansive foam, photography, paint
Vivante
Alive
I was interested in the qualities of the bamboo (its
cylindrical shape, its knots), ideal for the production
of sound. I used several kinds of bamboo, various
in density and length to create a new musical scale.
The spectator is invited to refresh the installation so
that the latter can move and sing.
(H x L x W) : 47.2 in x 21.6 in x 1.2 in
Bamboo
50
Lève-toi et Chante
Get up and Sing
During my trip to the region of Kerala, India, I met
musicians. Their instruments were made of bamboo.
Most of the time, percussion instruments were put
on the knees. I designed a system which allows to
assemble bamboo modules ad infinitum. Modules
are of different lengths and densities. This produces
a drum kit of sound. The shape is inspired by the
bamboo in its natural environment.Vertical bamboo
can climb heights as far as the eye can see and at
its base, roots in rhizome.
(H x L x W) : 43.3 in x 13.7 in x 13.7 in
Bamboo
52
Mur du Son
Sonic barrier
Through various experiences and different sensibilities
of the group (students of the Arts Decorative, and
the HyperWerk Institute of Postindustrial Design
in Basel) we built a load-bearing wall of musical
instruments made of bamboo.
(H x L x W) : 118.1 in x 78.7 in x 78.7 in
B a m b o u, n y l o n , c o r d e s , m i c r o p h o n e e t
amplificateur sonore
54
Video
56
Incantation
1)
2)
3)
4)
5)
6)
Hear me,
Your envelope will wake up, Hélios God of the sun
My body is fragile,
But like Icare, fire flows in my veins
If you hear my call,
Take refuge in Morpheus arms
Digital video
56 seconds
58
Un Autre Regard
Another Look
I was interested in how I perceived the black color
a few years ago
« I found it to be a completely useless color ... One
day, I discovered a poster of a man who devoted his
life to this tint. How, why, useless, that it is good for
the crazy, an artist? »
Digital video
5:03 minutes
60
À Bout de Souffle
Out of Breath
Breathing is an act we are not aware of, it’s a reflex.
How can we become conscious of it? At the moment
of our « last breath », we realize how precious
breathing is.
I created a cycle, in which we exchange the one and
same breath of air. According to the exchange, the
air contains less and less oxygen, until it becomes
a last breath.
Digital video
55 seconds
62
Eau forte
Acid
In Pascal Quignard’s book, « Terrace à Rome »,
there are numerous descriptions of the bound body.
The main character, an artist engraver, has his face
deformed during a fight with a projection of acid. I
bring the spectator to see the physical stamina and
pain, given rhythm by my breaths during a performance.
Digital video
180 seconds
64
Drawing
66
Work Experience
76
Art performance
in The Centre national d’art et de culture
Georges Pompidou
We were inspired colors used by Martial Reiss’s
paintings. So we made and organized the alive
paintings. According to the various movements, a
new pictorial and abstract composition took shape.
The performers moved in all the Centre Pompidou
inviting the spectators to join the various places of
the museum.
Art performance
4 hours
78
Exhibition in the Université Paris-Dauphine
I made a plain white canvas exposed in the
schoolyard of Dauphine.
Every students were invited to draw on it in order
to reveled the message that I was hidden behind
«There is nothing behind».
(H x L x W) : 78.7 in x 118 in x 59 in
White canvas, pencils
80
Follow-up of projects, set design
for the theater director Gérard GALLEGO,
group Instant Présent
Le Bleu de mes Rêves
The Blue of my Dreams
« Yes, they are different. Yes, they have a handicap,
but they are before any people rich in things to be
said and to be shared », explains Gérard Gallego,
director, who had, on proposal of the team of the
home of life Guérinière, the idea to underline the at
the same time rich personality and give a complex
to people mental, psychic and voluntary defectives
for this theatrical project ».
Stage play
45 minutes
82
Set design, assisting designer, draftsman
Klapisch Claisse Agency
Event exhibition at the Gaïté Lyrique (France) for the
centenarian of the group Philips
84
86
Set design
Klapisch Claisse Agency
Event exhibition at the Gaïté Lyrique (France) for the
centenarian of the group Philips
Graphic designer
for set designer Camille VIDART
Vanitas still life seen through,
Cornelis Norbertus Gysbrechts
Designed curiosities cabinet in a trompe l’oeil
window
88
Assistant to artist Evariste RICHER
Construction of a work of art for the exhibition Art Basel to Basel (Swiss)
90
Trainning course
with sculptor Oriane PONCET
Techniques with synthetic material
177.2 in
68.8 in
92
Assistant to Japanese sculptor
Tetsuo HARADA
Modelling or direct cutting sculpture of Granite, Marble and Alabaster
94
Graphic Designer
for the italian fashion brand ICEBERG
Design patterns on garment for the parade of
ICEBERG, woman collection, spring / summer 2015,
during the fashion week of Milan.
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