Invited to be the Carte Blanche artist for 2023, Eva Jospin offers her vision of the terroir of Maison Ruinart.
Like a cross-sectional landscape, the site of the Montagne de Reims appeared to the French artist as composed of different geological and temporal strata, real and imaginary.
Eva Jospin is passionate about the richness of this region and the know-how transmitted there: from the underground world of the crayères to the roots and interlacing vines; from the coronation of the kings of France in Reims Cathedral to the ennoblement of the Ruinart family under Charles X; and from the conversion of the old chalk quarries into cellars to the Maison’s expanded commitment to supporting biodiversity.
Through a series of artworks (drawings, sculptures and embroideries), she invites each of us to immerse ourselves in this landscape, as if plunging into a mysterious story intertwining the cycles of history and plants, life and creation.
Eva Jospin learned to paint at the École nationale supérieure des Beaux-Arts de Paris.
After she graduated in 2002, she turned to sculpture and then began working with cardboard, a lowly material that she can obtain easily and from which she makes emerge worlds inspired by a fantasy nature. In her work, the meticulousness of the details is combined with a monumental dimension that lends itself to an immersive experience.
Eva Jospin also works on other practices, notably drawing with Indian ink. She also gradually explored other forms like grottoes and nymphaea, reflecting her interest in Renaissance architecture and gardens, while integrating novel materials, including bronze or copper wire, and new techniques like embroidery.
Nourished by historical references, her work contributes to a renewed vision of landscape.
As part of her artistic reinterpretation of Maison Ruinart, Eva Jospin has created a collection case around a Jeroboam of Blanc de Blancs.
The artist has transformed the wooden box containing the bottle: Custom-made as for a real work of art, fastened by leather straps, it opens onto the scene of a crayère in miniature, sculpted out of layers of cardboard.
The bottle is inscribed inside this recessed landscape, a metaphor for the making of champagne and its fermentation sheltered from light.