Juliette Losq's work describes the borderlands at the edge of human habitation. Reclaimed by nature, these regions become refuges for wildlife, dens for children, and spaces of speculation on what might have gone on before and what may be occurring out of sight.
As part of her working process Losq produces paper landscapes inspired by historical optical devices such as the paper peepshow or Teleorama. These are used as maquettes from which to make drawings, paintings and installations. Though based on real places, these landscapes become fictional through their construction. Through this process of construction and reinterpretation, she aims to preserve the ephemerality of the sites, whilst developing an understanding of the model as a partially imagined, partially ‘real’, space that can transport the viewer conceptually from one place to another.
Alluding to the Picturesque and the Gothic of the eighteenth and nineteenth centuries, Losq interweaves their motifs and devices with the marginal areas that she depicts, evoking an uncertain world hovering at the edges of a symbolic ‘Clearing’, where wilderness and chaos oppose civilization and order, and in which beauty and neglect are interchangeable.