Mathilde Comby, best known as RANDOM RAINFALLS, born in 1984, lives and works in the countryside of Central France.
Between 2002 and 2007, she studied Art History and Photography at Saint-Etienne Finer School of Art.
During an Erasmus exchange trip of 6 months in Estonia, she fell in love with Northern landscapes, folklores and cultures. Since then, she’s travelled to Finland several times, and to Iceland as well as other places, from where she often brings back lots of materials for her work.
Her practice oscillates between art and artwear. She uses natural and vegan-friendly materials (linen, cotton, rice, branches, bones found in the forest, lichens, leaves and various plants), assembled and crafted very slowly and carefully. It usually takes her hundreds of hours to make garments or accessories.
Her art was shown in places such as Saint-Etienne’s MOMA, and her artwear was featured in several magazines like Sabat, Dark Beauty and Prysm.
She’s got a deep interest in natural sciences, and doesn’t believe in separating fields of knowledge. She likes to use elements of visible nature to try and show invisible nature, within the things we are given to see and which we often perceive too immediately. Her work is an ongoing effort of heightened sensitivity to the things that do not always appear obvious to our senses, to this confused ensemble of life and death with its cyclical rhythms.
SABAT MAGAZINE – Issue 3 – The Crone Issue
MORIKAN – Royaume EP – By Aurélie Raidron
DARK BEAUTY MAGAZINE – Issue 33 – Personality Cult – By Jérôme Gimenez
KAIOUTI MAGAZINE – Issue 3 – Kino Maniak – By Aurélie Raidron
BEHANCE – Latence II – By Roman Jehanno
PRYSM MAGAZINE – Issue 5 – Tributo – By Julie Marie Gene
BEHANCE – The Empress – By Julie Marie Gene
Château de Beaulieu, Riorges, France
LOCAL LINE 5
Musée d’Art Moderne, Saint-Etienne, France
Parc des Expositions, Mulhouse, France
TRAVAUX EN COURS
Musée d’Art Moderne, Saint-Etienne, France
Gallery North, Newcastle-Upon-Tyne, United Kingdom
Gallery TAZ, Tallinn, Eesti
2013 – 2014
Corset making, Institut Régional pour les Métiers d’Art et la Création Contemporaine (IRMACC)
2002 – 2007
Ecole Supérieure d’Art et de Design Saint-Etienne (ESADSE), Art
Erasmus at Eesti Kunstiakadeemia (Photography, MA studies), Tallinn (Estonia)
Evolving in a very personal universe, Mathilde Comby literally transposes her daily workspace within the gallery. Between workshop, laboratory or curiosity cabinet, the objects that inhabit her universe cohabit to recreate a space out of time: vestiges, sketches, objects for and to dissect. To dissect the world, to make visible the arcana, the seams, connections, here is the work of this artist, in which she lives strictly speaking. “Concretely, my house is the direct extension of my brain, the honest reflection of the structures that make up my mind.” I work with the elements of visible nature to try to bring invisible nature into view. With fragments of structures that have disappeared, she reconstructs a perennial structure, a habitat. Habitat of the decomposed mind, recomposed in the habitat of the body, it is on cyclical questions that the artist works, leading us to a certain confusion. Another story of eternity, that aims to naturalize life to keep its essence.
The world is not a monolith, history is not linear, and globalization has not yet imposed a uniform vision. And it is the characteristic of the artist – and the symbolic force of art – that to play with the components of the world to propose new assemblages. Faced with this profusion of images and their hypercirculation, Mathilde Comby responds with a vitalistic and positivist attitude: that of consilience. To combine all the knowledge and motives, to create new correspondences, to use a broad field of disciplines in order to create relations hitherto unimagined. This leads her to create a heterogeneous but coherent universe where archaism coexists with current technologies. She carves, assembles, rises, as if to reveal to us the undersides of the world, the skin’s underside, the out-of-scope optimist, ambitious and well-thought out world that is proposed to us.
Mathilde Comby’s research is based on eye / brain exploration and the supposed links between neurobiology and culture. Jacques Rancière argued that, in order to counteract the imposing proliferation of visual archetypes disseminated by the mass media, “we should reverse the meaning of protocols for reading signs.” Mathilde Comby seems to proceed from the philosopher’s recommendation, by associating, according to a logic which she alone puts in place, one or more images, the subject of which is the organic, to the cultural fragments of her poetic games on words. While she claims a predilection for neurosciences and the sciences of language, collaborating for certain projects with researchers, she also claims on the one hand the inexplicable, which was classified in the time of scientific positivism on the side of esotericism. Each of the images has its own autonomy, but as soon as they associate each other in a random or intuitive way, each unit of meaning combines to create a grid of interpretation in the arcane way of a game of cards divinatoire. It is up to us to question the dualities that come into play between art and science, between science and magic, between gaze and knowledge…