Jungkust / 22 -> 25.10.26 / Winterthur
CV
studio@romaincarre.com
Selected Work
Collective Imaginary is an evolving image composed of several thousand pictures of a chosen idea, here Yosemite National Park, presented as their arithmetic mean. Only the global appearance remains: a palette of colours, an atmosphere, a midpoint between all existing viewpoints that maps a dominant imaginary. The image changes too slowly for short-term memory to register, but can be perceived as the viewer moves through the space. Its database keeps growing at the pace of images shared online, in books and on social media, with no artificial intelligence restoring meaning, so that the work moves from calculation toward sensation without interpretive mediation. It is an inquiry into objectivity: a median point shared by many observers yet inhabited by none, a view from nowhere.
[View]
Biopolymer, beeswax infused with pollinating insect pheromones, pigments, and essential oils (orchid, vanilla, milk, aldehydes), living orchids, water circulation system, untreated water from the Eulach River.
Dimensions variable, approx. 106 × 82 × 160 cm
In an era of mass extinctions, endocrine disruptors, and monocultures, several artificial intelligence models were asked to imagine sterility in search of a symbol. Their projections became a strange sculptural form, hovering between bone, mutation, flower, and organ. Painted with beeswax infused with pigments and pheromones that act on pollinating insects, the biopolymer structure hosts living epiphytic orchids, symbols of fertility whose reproductive strategies rely on deceptive morphologies. A scent synthesising orchids and milks fills the space, while a mist of untreated local water sustains the plants and embeds the work in its environment.
[View]
Histological pigments tracing paper, ancient study drawings
Various dimensions
Counterstudy brings together multiple notions of study by confronting the tradition of the artistic preparatory drawing with scientific investigation. Forms inspired by histological imagery are introduced into the composition and executed using histological pigments—here, methylene blue—traditionally employed in scientific microscopy. These organic, cellular structures disrupt and infiltrate the drawn landscape, blurring the boundary between representation and analysis. By using scientific materials to produce non-scientific images, the work questions systems of knowledge, modes of observation, and the authority of scientific visualization. The drawing oscillates between intuition and protocol, fiction and measurement, proposing the study itself as a space of speculation rather than certainty.
[View]
Exhibition
Galerie du Crous, Paris
In the natural sciences, an ecotone is a zone of transition between two different biodiversities. The exhibition “Écotone” sets the Western representation of Nature against Romain Carré’s artistic research into objectivity. His works are never given as they are: they open a breach of ambiguity, an “uncanny valley”, where the origin of materials unsettles our bearings, as in Hybrid Trophy, Cosmogonies and Meditating Sterility. Playing with scales, he lets the profane and the sacred, East and West, collide, and strips the landscape down to its “very marrow”. Objectivity becomes an ecotone: shifting, hybrid, plural, and, to borrow Foucault’s metaphor, “a glove turned inside out”.
[View]
Digital image
Dimensions variable
Giorgione’s La Tempesta (c. 1508), often cited among the first paintings in which landscape becomes the subject rather than the backdrop, has never yielded a settled reading. In Tempesta, every human figure and trace of construction is removed and the gaps are filled by AI, leaving a landscape with a single event: lightning on the horizon. The emptiness is not empty, since the model completes the image only from what centuries of painting have shown it. The non-human becomes a statistical human: a landscape devoid of people, made entirely of them.
[View]
Antlers shed by wild deer, beeswax loaded with synthetic musk, steel
250 x 230 x 46 cm
Inspired by the European tradition of hunting trophies, this sculpture is composed of antlers from different regions and species of deer. These mutated antlers form a crown here, emitting a strong odor in the space due to the synthetic musk with which they are coated. This chemical compound, used in laboratories since the late 19th century, is an alternative to its bio-sourced counterpart: the musk glands of the musk deer. It is a celebration of mixing, hybridity, and perpetual mutation.
[View]
Biopolymer, beeswax infused with pollinating insect pheromones, pigments, and essential oils (orchid, vanilla, milk, aldehydes), living orchids
Various dimensions
In an era of mass extinctions, endocrine disruptors, and monocultures, several artificial intelligence models were asked to imagine sterility in search of a symbol. Their projections became a strange sculptural form, hovering between bone, mutation, flower, and organ. Painted with beeswax infused with pigments and pheromones that act on pollinating insects, the biopolymer structure hosts living epiphytic orchids, symbols of fertility whose reproductive strategies rely on deceptive morphologies. A scent synthesising orchids and milks fills the space, while a mist of untreated local water sustains the plants and embeds the work in its environment.
[View]
ink and varnish on canvas mounted on panel
15,7 x 15,2 cm
The series of paintings from which Castagniccia originates seeks to deconstruct the very idea of landscape (a point of view on a territory), by multiplying observers and intertwining their representations until they become abstract. All the views of a chosen place found on the internet are averaged by computer into a single image containing them all. This image of the Castagniccia, a wooded region of Corsica, retains only its general atmosphere, its visual essence, as we collectively imagine it. The diversity of perspectives gives way to a simple notion of ground and sky, a blurred composition, a palette of colours.
[View]
Exhibition view of:
Emergence, 4k video, 9 min, 2022
Vallée de Joux, varnished pigment ink on canvas, solid oak, polyurethane foam, 2022
At Una Volta, Bastia
Plasma cutting on varnished steel, biopolymer
Diptych, Ø 100 x 9 cm each
Sigh is a diptych made up of steel plates that take the form of a human field of vision. The eyes of anonymous sculptures from ancient Rome rest there, scanned in 3D, modelled and then reformed in biopolymer. This mural sculpture appeals to the inherent biases of human perception, preventing any exhaustive sharing of our own visions. An individual's sensory particularity becomes an object.
[View]
Exhibition
Tour Orion, Montreuil
[View]
4K video
8’38’’, 2.39:1
Emergence is a search for landscapes at other scales of reality. This film, made with macro cameras, flies over landscape paintings where a figurative geography resurfaces in the infra. The micro-variations of the brush become mountains, seas, forests... Whose hypothetical sounds reach us. Its title calls upon a concept from systems theory, highlighting the different complexities operating at each scale of nature.
[View]
Biopolymer and polished aluminium
Various dimensions
The Cosmogonies series is composed of forms drawn from science, religion, and popular beliefs, each representing a world in itself. Each of these forms symbolises the origin of the world for different cultures, all sharing a common trait: the reduction of Origin to a single object or event.
[View]
Exhibition
Cur. CRO: Félicien Grand d’Esnon & Alexis Loisel-Montambaux
Paris, France
[View]
4K to Full HD video
16’30’’
Speedrunning a Unesco Site explores temporalities and scales that can only be encountered through images. Protected since 2003 for its exceptional Triassic fossils, Mount San Giorgio has seen a “pre-human” nature return, along with sportsmen eager for sensation. The deep time of its geology clashes with the speed of mountain bikers and satellite tracking, while the microscopic sits on the same level as the astronomical. Personal and external points of view mingle in a profusion of times and scales, until landmarks gradually disappear.
[View]
Full HD video
7’54’’
Unicum proposes the meeting of two living artefacts: the botanical garden and the laboratory mouse. An environment and a subject, both resulting from the scientific research, are mixed on screen through an artifice coming from the cinema industry: the green screen. Filmed on an island botanical garden in southern Switzerland, Unicum is a reflection on the idea of Phusis as an alternative to the natural/artificial dichotomy.
[View]