"Myriam Jacob-Allard appears through a heavy door and greets us with an easy warmth, scooping us up and welcoming us into her world. We are immediately absorbed by an unexpected color-drenched stairwell. Every surface is saturated in a dense, glowing yellow that reads unmistakably as egg yolk, insulating us from the outside in as we make our ascent. We turn into a long hallway whose fragrant freshly waxed floor catches the light, reflecting it back upward so that the corridor seems to glow beneath our feet."
"Upon entering the studio, there is a momentary sense of having stumbled upon a rehearsal for a stage production of Beauty and the Beast, the floor alive with animatronic domestic objects carrying out their appointed tasks. A motorized papier-mâché broom sweeps the ground with steady persistence, lifting itself slightly before landing with a heavy, resonant thump that settles sharply in my chest. Nearby, a familiar white-and-blue iron hesitates before gliding forward along the laminate. A robotic arm lowers a remote control toward the floor, trembling like an elderly hand weakened by age."
A gray courtyard near Kottbusser Tor yields a provisional mid-December sun at a low, loss-tinged angle. Myriam Jacob-Allard greets visitors warmly and ushers them into a stairwell saturated in dense, glowing egg-yolk yellow. A long, fragrant, freshly waxed hallway reflects light upward so the corridor appears to glow. Large windows flood the studio with lingering daylight, making lamps nearly unnecessary. The studio floor reads like a stage populated by animatronic domestic objects: a motorized papier-mâché broom, a hesitant white-and-blue iron, a trembling robotic arm, and clicking white cowboy boots that give household items a theatrical, uncanny life.
Read at Berlin Art Link
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