Oo-new — ninabernagozzi

OSTREON / OSTREA, A crossing back

The four seasons merchant II - Contemplation, a season that filters / October 2020

The Installation "Sentimental biography of an oyster",

part of the collective exhibition Le monde se détache de mon univers (the world come of from my universe) initiated by the collective, Échelle Réelle,

At the Galery Michel Journiac / Paris.

An installation combining paintings and poetic experimentations, which at the closing of the exhibition was activated, to take her full measure,

with the culinary performance, Ostreon / Ostrea , A crossing back : solitaries dinners, accompanied by the edition Consider the oyster.

A proteiform and immersive experience.

I started by putting on my apron, then I walked into the room, without looking at anyone, walked over to the kitchen towel lying lasciviously on the shelf, in which had been wrapped before he unraveled the prominent autumn hats of wild peonies, full of precious seeds
that will later have to be reached to germinate, a few cuts of hawthorns berries - also from the garden - from an ancestral bush that forms the arch delimiting my vegetable garden and whose the seeds - dangerous for vulnerable hearts - have the virtues of increasing
and accelerating blood circulation, when consumed in infusions.
In this kitchen towel, I had also stored some jewelries: a pale pin, representing a moth which I seized to hang on my black blouse from which it could only split off, such was excessive their dissonance. I inserted the pin above my chest, near my left shoulder, then
I lodged in my earlobes old earrings, whose romantic allure of delicate roses with five petals, was containing a radiant heart, color of amber.
Adorned, I walked towards the table, a piece of solid oak, fashioned by my father's hands some fifteen years ago.
From my apron I took out an oyster knife and with the help of a second kitchen towel I opened one.
A three-hour service was initiating.
I sliced the back of the brake of this first oyster, emptied her of her excess water which I collected in a bowl, was adding a dash of lemon to it and finally I was raising my eyes towards the crowd, to advance towards it and melt into it, then I was offering the shell to
the first taster whom I was inviting to take a seat on one of the prepared tables.
Once installed, after having swallowed this appetizer, I was serving the three others preparations to the taster, inviting him to initiate at the same time as his meal, a card game, with the one I have designed: Consider the oyster.
At the end of the meal, before they left the table, I offered to each guest, one of the nuts from my garden, whose the husks had made up the macerated pigment that was filling the painted tablecloths of my installation.
Inviting them to read the telling - Deep in fractals - in two parts which related this crossing.

Installation Sentimental biography of an oyster, a set including,

In the hollows, paintings on silk, variable dimentions, indian ink and home-made walnut (husk) stain

Consider the oyster, édition of 26 cards both sides print in risography ( studio Fidèle) in four colors , from watercolor made of nature and embossing case

Deep in fractals, text in two parts, the first one revealed at the opening, the second one at the closing.

Menu
A crossing back, from the open sea to the woods

I

Natural oyster

Served fresh with a dash of lemon

II
The astringent

Fresh oyster, slightly bitter daikon in a creamy and mustarded marinade, pear too young,

slightly grainy and crunchy, five berries, lemon, crushed fresh nuts.

And his bouillon of oyster water infused with verbena.

III
The gentle masculine

Oyster poached in a flavored Ugandan vanilla milk, known as the masculine vanilla,

note of leather, spicy, and vanilla oil.

With his nut bread and a half hollowed walnut shell in which is served a sip of the same milk.

IV
The undergrowth

Fresh oyster, quince marmalade with Tahitian vanilla,

Apples and quinces cooking wedges

Pomegranate molasses, a few grains,

caramelised nuts and Shiso leaves.