Last week, Paris was buzzing with all sorts of art-related events and Fashion Week, and one that we were particularly interested in was the self-produced, pop-up exhibition Waterline, by Pejac (who we interviewed in our Spring 2018 issue). Held on an old peniche moored right under Notre Dame, the 4-day exhibition was another one in the series of his self-produced projects which are challenging the concepts of the established art world.
Focused on presenting works on paper, the show was dominated by three large pieces that were installed at both ends of the boat's interior. Created using charcoal on paper, mounted on a canvas frame, the large and intricate pieces showed the quality level Pejac's drawings are at. Masterfully utilizing the softness of the medium to create a dreamy atmosphere, he is still able to accent particular details, capturing observers attention by hiding them from the initial glance. Embued with sadness and somewhat apathy, all three pieces depict impossibly dark scenarios—a swimmer diving to retrieve a sinking life belt, a helicopter displacing a lighthouse through the desert, and a group of hunters battling the hurricane of birds.
The other drawings throughout the deck and the interior of the boat were some older works and studies, as well as some new, previously unseen concepts. Along with studio works, the artist constructed tow site-specific installations on the vessel, playing with the idea of a paradox and a notion of familiarity. A large piano surrounded with car mechanic tools on the inside was cleverly mixing the two worlds; a "cultural," high class against the working class idea. This was emphasized on the opening night when a pianist dressed up as a car mechanic played beautiful tunes for the visitors, while the stone well surrounded with the lush green meadow on the bow of the ship overlooking Notre Dame cathedral was puzzling the minds of the passersby.