One of Anne Mortiaux' first concerns was to break down the notions of interior and exterior, by multiplying the possibilities of interfaces among them. The window, for instance, as a space which "filters" the movements to and fro between the "inside" and the "outside", has been the subject of various experiments, each time developing new aesthetic possibilities. Moreover, she has become interested in ways of making light and colour palpable, another way to question the notions of interior and exterior, still using windows.
Anne Mortiaux has also created installations, at various places, which condense what she calls "conveyed moments". As the "back to the sources" integration expresses an almost introspective return to origins, at an exhibition in Ixelles she created a clay hut, the materials of which (clays, wood, etc.) had been gleaned from the places of her childhood. The hut, the size of which depended on the available space but also on the body of the artist, expressed this idea of return towards the interior, of condensation of memory and the emotions connected to the memory of childhood. Moreover, the hut was constructed on both sides of a picture window ; in this way it seemed as if it was both inside and outside the museum.
The idea of preserving the tracks of moments is again put across at an installation in Rome. Anne Martiaux had constructed some kind of aqueduct in a gallery, by means of scrap objects she had gathered from the waste grounds of the Italian capital. For a month, almost three hundred litres of water, previously collected from the Neapolitan sea, passed through that aqueduct.
These gestures with a simple appearance (like for example collecting pieces of buildings that are being destroyed, or making balls of river mud), but very affectively loaded, take on an intense poetic sense at the time of their final forming, apparently simple but extremely precise. Practised since the beginning of the nineties, they anticipate a trend which is characteristic for the end of the nineties which expresses the poetry of "almost nothing".
Born in Huy, in 1964.
Studied at the National School of Visual Arts - La Cambre, in Brussels (flexible sculpture).
Scholarship at the Foundation of Tapestry, Fabric Arts and Mural Arts, in Tournai
1986 : Flexible sculpture, Van de Velde Hotel, in Brussels
1989 : De maisons en maisons (From houses to houses), Eghezée (first prize)
1990 : Installation for TDS Acior, on the occasion of the "Designers'
weekend", Brussels (first prize)
Tremplins (Springboards), City Hall, in Brussels
Do not disturb, Mégissiers, in Anderlecht
Mellom Romene, in Bergen (Norway)
1991 : Research 91, Foundation of Tapestry, in Tournai
Exhibition, Trace Gallery, in Hastière
1992 : Artists Round, in Saint-Gilles - Brussels
1993 : Sound sculptures and installations, in Maastricht (the Netherlands)
Triennial of the Artists of the Province, Maison de la Culture,
1994 : Un Etat des lieux (A state of the places), Botanique, in Brussels.
Water on Bouvignes, in Breda (the Netherlands)
1996 : Acque sotrate, Galerie Il Punto di Svolta, à Rome (Italie)
Casa tua è casa mia, Académie américaine, à Rome
Integration for the administrative Centre of the Ministry of the
Walloon Region, in Jambes
1997 : Les Boursiers s'exposent (The Scholars' Exhibition),
Museum of Ixelles, in Brussels and Museum of Modern and
Contemporary Art, in Liège
1998 : Des tas confus et aliments composés
(Confused heaps and compound food), Saint-Gilles - Brussels
L'art au gué (Art at a ford), Hastière-sur-Meuse
1999 : Sugar Baby love, performance, Les Bains, in Brussels
Scenography for L'oeil du Loup (The Eye of the Wolf) of D. Pennac,
for the Zanni Company.