IN SITU | 2016-2020

During a residence in the United Kingdom for the summer of 2016, I started several in situ interventions that I continued in other towns and other countries.
I look for places to write. Words that are in line with the places where I put them and with emotions of the moment.
Once the intervention left on site, photography is added to the process of creation.

Interventions in situ, collage, aerosol spray paint, chalk; 13 photographs, 30x40cm.


In the garden of the Sisters of Providence (Namur-BE) there is a path that leads to nothing. This place rich in irony and poetry particularly attracts me, mainly by its discretion. In my work I am very drawn to places that leave us indifferent, by their banality. I like to give them a different point of view. This path reminds me of life itself, our life journey, not in its linearity of course but in its purpose. A goal, a destination. We constantly need to know where we are going and what awaits us at the end. But does a stroll necessarily need an end purpose? Isn't it the whole adventure we have to consider and appreciate?

Installation, concrete, 227x16x7.5cm.


I have re-made the performance Love is waiting for the exhibition Ménage à trois in Ghent. The text has been expanded by two new phrases and translated into Dutch. I therefore faced challenging work of memory and pronunciation as this language was until now relatively unknown to me.

Performance/sound recording, varying duration.


Collective exhibition.
Mira Albrecht invites Élodie Merland and Ed Sanders for a Belgian/French/British “ménage à trois”. An artistic cohabitation in Poort 8, that focuses towards the notion of interior and intimacy.

Poort 8 / Ghent, Belgium (May-June 2019).


What about escaping for a moment? To let aside our daily routine. To talk about nothing and everything, about love, about sex, about death, about oblivion, about time, about loneliness, about laughs. To talk about old age without mentioning the wrinkles. Following a residency early 2018 within the Schadet-Vercoustre foundation – a nursing home in Bourbourg – I have written a gathering of words which ensued from discussions and observations. Time spent with some twenty residents, mostly women, with failing memory. We would (often) get acquainted. Friendships would be born. Tenderness would settle in. Then I would go for a leak and they would forget all about me.

Installation, corten steel, 974x487x135cm.


Summer 2017, I roam through the city of Roubaix. Its streets, its neighbourhoods. In my bag, my camera. Out in the fresh air, my eyes wide open. Attentive. Listening. Ready to be surprised. I capture a light, colours, compositions; results of the consumption of daily life. Gradual changes. Deteriorations and neglect. And then, phrases and words. Rubbish becomes still-life. Neighbourhoods are evolving at their own pace. My eyes are focused on this view of this city, which highlights these neighbourhoods, as they are. True to themselves. Hard. Trashy. Sincere. Endearing.

30 photographs, 20x30cm; book, 14.8x21cm, 44 pages.


The silence of the spectators floods the Brewery Tap (Folkestone). I initiate the waiting gesture. I walk a hundred paces toing and froing over five to seven metres. I stare at the laminated flooring where my steps echo. After six return journeys, I begin the recitation of Love is waiting, a non exhaustive list of my expectations for love – past or present – written in english, a language that is not my own. The performance lasts seventeen minutes and fifty-six seconds. Each phrase is followed by a silence of a varied length. The steps quicken, simultaneously with the speed of the phrases. Then after all, the recitation like the steps, slow until they come to an end.

Performance, 17'56"; book, 13.4x20cm, 32 pages.

EMBRACE | 2017

CARESSE MA LANGUE AVEC LA TIENNE (caress my tongue with yours) is written with maca powder and placed on a wooden table. The sentence recalls, obviously, a languorous kiss but it’s the image of cultural exchange too, a meeting, a melting. The table calls to the meal. The maca is a plant with many virtues, including that of increased sexual desire.

Installation, maca powder and wood, 250x60x75cm.


“Transferred from the page to the wall, over six meters long, the sentence IN THIS STREET ALMOST DESERTED, A MAN SILENTLY PLAYS MUSIC might well go unnoticed, as well as the event from which it comes, could have also gone unnoticed. as is often the case with the work of Élodie Merland, you have to make yourself available.”
François Coadou, The discreet charm of details (extract), 2017.

White painting on white wall, 590x13cm.


Solo exhibition following a residence wich took place in Folkestone for the summer of 2016.

La Plate-Forme / Dunkirk, France (January 2017).


The twenty two concrete letters which weigh from six to fifteen kilos are placed in piles on floor. I move them. I write. By coming and going my breathlessness increases.
JE PLIERAI LES DRAPS SEULE (I will fold the sheets alone) is the sentence I make. Sometimes I think that the only reason to live as a couple is for practical reasons. An action that for me represents this perfectly, is the folding of sheets. Sheets represent inevitably, love as well. The mix of the sensuality of the fabric with the raw aspect of the concrete seemed to me a good way to describe love and its pain.

Performance/sound recording, 11'03"; 2 photographs, 13x18cm; installation, 22 concrete letters, 700x46x8cm.


Finger pointing towards the horizon, I let the many summer tourists think about what I’m trying to show them without using words. Is it the sea? The sky? The pebbles? The seagulls? Or simply, further? France. The border. Those who find themselves there reflect, wait or try to pass through. The gesture that I hold only lasts until my arm gives way. Like a fight to keep our eyes open. Thus I stood with my finger pointed for two hours and twenty eight minutes.

Performance/video, 02:28'00".

WESH MA COUILLE | 2013-2015

Both connected by our cell phones, one took the role of the teacher, dictating to the other, words spoken by the passing people she heard in the street. The second became the student, the young girl who is working to transcribe the snatches of conversation. When passers-by were absent or silent the exercise took another rhythm, leaving a set of silences for varying periods and this dictation was transformed into a motionless choreography.
The teacher watched every conversation, the student, as for her, waited conscientiously for the next part of the dictation.

Performance/video, 1:55'00''.
With Gaëlle Le Floch.


Solo exhibition upon an invitation of IDEA-Z (International Domestic Exhibitions by Affinity).

Olivier Lemesle's studio / Rennes, France (June 2012).


Standing on the stairs, Gaëlle inflates balloons and places them on a stair. Meanwhile, I evoke a precise set of descriptions of people going up and down stairs (attitudes, clothes, words I’ve heard, and noted). Gaëlle is both, a composer and a conductor, by breathing she gives allows me to speak. When she takes a breath, I go silent, then I speak again when she starts to inflate balloons again. It's a true rhythmic composition that gives a tone to my voice, going from light whispers to shouted sentences, all depending on her position on the steps.

Performance, 22'16''; photograph, 30x45cm.
With Gaëlle Le Floch.

DIKU? | 2010

Exhibition from graduating students from Higher School of Art - Toulon-Provence-Méditerranée.

Espace d’art Le Moulin / La Valette-du-Var, France (October 2010).


On 15th May 2010 at the annual National Museums Night, at 9pm in the LAAC, Lieu d’Art et Action Contemporaine, Dunkirk, a concert was given by 52 people with a mobile phone and standing at 52 music stands. A screen took the place of the bandmaster and diffused a digital timer, which scrolled seconds. Every musician played a phone number corresponding to one of phone boxes located between Dunkirk and Toulon, thus playing an inaudible partition.
Movements – calling, waiting, and listening – evoke choreography.

Performance/video, 13'50".


From May 2009 to May 2010, each Sunday and for one hour only, I took over and occupied 52 phone boxes. In each of these boxes, transformed for the occasion into mini art galleries of roughly 1m2, I waited for the calls from people who I had previously invited to join up with me. I would then describe four detailed views with any incidents that occurred while I was watching. Each description lasted roughly 10 minutes; the number of calls per gallery could be, at best, up to six. The whole of these static wanderings are today as audible post cards and their address the illumination of a listened reality.

Performance, 1 year; book, 19.7x11cm, 99 pages.


In situ intervention and video made at De Panne (Belgium) by the artist's collective NSS (Kévin Bogaert, Béchir Boussandel, Élodie Merland, Laurent Varlet and Wenxi Xiong).

In situ installation, aerosol spray paint and dust sheet; video, 03'11"; photograph, 30x40cm.