Ondée is an installation consisting of a large salt mat distributed in a thick layer and cups connected to each other by a nylon thread and supplied with water through a thin hose. The cups of Ondée are gradually emptied: the water slowly drips down the nylon threads. An almost imperceptible dance is created. The threads undulate, vibrate at different amplitudes, under the weight of the falling drops. Each of their fall digs the salt above which they dance. They sculpt it, create small lakes, new landscapes. In this way, Ondée is transformed as time passes and the spectator is the first witness.

It is a contemplative work, in front of which time stands still as when a child spends hours watching the raindrops fall on the window. Ondée requires the same attention to the little things. She is appealing because of her minimalism, she inhabits the place that shelters her by her smell of salt and her tiny lapping sounds.

As a child, Alice Blot walks around the schoolyard with a plastic bag in one hand and a brush in the other. She dusted every nook and cranny in search of unusual objects from a distant era, then annotated them and stored them in a cabinet dedicated to them. “I was the queen of archaeologists, at the head of an incredible collection, made of “Cleopatra’s dress thread” and “Tirex’s nest pebbles“” she says, with an amused smile on her lips. The young woman understood as early as secondary school that her vocation was to work in art. Although she had not yet fully grasped what it meant to be an artist, the only subject in which she was really involved was plastic art, where she could develop a language of her own. As time goes by, this desire to persevere in this field becomes a certainty and it is therefore quite natural for her to move towards art studies. In 2008-2009, Alice Blot entered the preparatory class for the entrance exam to the higher art schools in Sète, before obtaining her National Diploma in Plastic Arts at the Higher School of Arts in Toulon in 2012. She then joined the Haute Ecole des Arts du Rhin in Strasbourg, where she obtained her Diplôme National Supérieur d’Expression Plastique in 2015. Today, the artist wears several hats: this all-rounder is not only a visual artist and photographer but also a storyteller and author.

Since June 2016, Alice Blot has been taking part in the Open Workshops at Bastion XIV, a former military building now housing 21 workshops reserved for artists, in Strasbourg. Her work will also be exhibited in 2015 at the Regionale in Fribourg and in 2014 at the Nuits Blanches de Paris. On this occasion and on commission from the Fish-eye group, she created her work Fongus arboricole, a collage of two hundred and thirty paper pots on a tree trunk.

The world of Alice Blot, who calls herself a “dust-spinner, composer of scores for moles, collector of souvenirs“, is nothing but poetry and delicacy. In her work, the artist strives to point out what lies beneath, to capture the imperceptible in order to reveal its interstices, temporalities and surfaces, to make touch audible, sound visible, the impalpable palpable. His vision of the world, of the beings around him, is focused on detail. The smallest crumb, drop, wrinkle can give her grain to grind and it is through art that she makes this way of seeing exist. The pieces she creates are never fixed, always subject to evolution, to metamorphosis, so that a particular and intimate dialogue is born between the spectator and the works. A concrete example of this is her work Naëvus, which consists of paper cards perforated according to the location of the moles on the bodies of different people and which, when slipped into a componium, create unique melodies.