The twist and spiral of my candy sculpture gives all its expression and dynamism to my artwork, and also makes each candy sculpture unique. This is the reason why I worked on a new artwork, based on the twist of the candy. By analysing my candy sculpture, by isolating its skeleton, its papillotte, the twist, the core and by stacking several spirals, the double helix and thus the molecule of heredity became imperative upon me: The DNA would be my new artwork direction.
Plexiglass sculptures in sugary colours, Laurence Jenkell's Bonbons have been produced over a decade in different materials, from bronze to glass to marble, polyester, aluminium. These candies measure between 40 to 500 cm. The artist creates unique pieces with draped, coloured and twisted wrappings.
The torsion at the heart of the production of Laurence Jenkell's Bonbons has become the artist's emblematic gesture. Between 2016 and 2017, to raise the awareness of her public, she investigated current subjects such as overconsumption, waste, world hunger, and the environment. The chosen forms, produced in mirror-finish aluminium or bronze, are strong, identifiable, and universal.
This butterfly sends back directly to the curlpapers of my candies and the embryo sends back as well to the nucleus of the candy, as to the birth and thus to the transmission conveyed by the embarrassment and contained in the DNA.
Responding to the bright colours of the Bonbons, the Buildart series (2012) use plexiglas and shades of black, white and iridescent. In these human-scaled architectures, from 50 to 130 cm high, the artist reveals her reconstruction of and idealised universe in which the metropoles of the world are side by side. The technical aspect of these structures requires a more elaborate production process than the twists: drilling, insetting, LED lights...