Sylvie Réno

There are perios during which, making forty Kalashnikovs doesn't frighten her. And by hand. Like that. Not necessarily because she's angry. She makes her weapons rather quickly considering the manufacturing time. Forty kalashnikovs in fifteen days. That seems reasonable.. they're in cardboard. ( ... )

Compulsion,Obsession in repetive work and the ensuing relief drive her to repeat the objects in an installation. Accumulating identical pieces (automatic pisols of the Browning 7,65mm type) which will be installed together relieves her.
The installations are developed during the work process. The piece evolves and is nourished throughout its elaboration. What's more, each installation is related to the one to come.The material doesn't always create the work. But a place can incite a work using the material accumulated in the studio. The studio is a reservoir of material. To compose a work is also desire, reaction, history. A pleasant feeling in New York can inspire her to fabricate a Browning, then fifty, as many as the stars on the American flag. Little thought before the work, she thinks while working. At least if everything's alright. Ideas are needed to get past the dead ends. She says she has no imagination.

Jean-Pierre Ostende, excerpts from the text Quarante kalachnikovs? Deux semaines
in the catalog Lundi Jamais / Montags Nie, 1998