Okashi, Hosu, Niji, Taboo, Torio are just some of the enchanting names that make up a forest of totems created by Amélie Dauteur.
Amélie Dauteur's totems are poetic exclamation marks, punctuating the art scene with their gaiety, finesse and simply joyful beauty. It's hardly surprising, given the designer's background in decoration, fashion and luxury. The gesture is mastered, the technique perfect and nothing is left to chance in the choice of materials: painted ceramics, wood shaped by time, are elements taken from nature and reinforce the primitive and sensual aspect of the totems.
If Amélie Dauteur sometimes adopts a light, humorous tone to talk about it, it should not make us forget that formally through them appears a whole history of the current art from Matisse to Ellsworth Kelly through Miro but also and especially summoning great names of sculpture such as Jean Arp, Constantin Brancusi, Alexandre Calder, artists whose legacy she does not hide. From these tutelary figures she manages to make the synthesis between abstract and figurative, vegetal and animal, a form of ideal concretion, synthesis that is quite personal to her and also translates her taste and knowledge of the primary arts.
If the urbanism of our cities can tend to the standardization of our ancestral cultures, the totems of Amélie Dauteur reminds us of a feeling of universality and essential by the strength of the art object with traditional consonances.
From all times and on every continent Man has needed to create totems, emblems of a clan of a family, a tribe that can be obiets of worship or protection. Owning a totem of Amélie Dauteur and enjoying her contemplation is to guarantee moments of dreams and appeasement, no wonder one wants to expand his family thereby restoring to art a sacred character.
Céline Berchiche, PhD in Art History, member of the AICA (International Association of Art Critics) and Iris Lagoda.
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