nowhere bodies

the cabin los angeles septembre decembre 2015

Two years ago, Theo Mercier moved from Paris to Mexico City, where he continues to live and
work today. He found Mexico's open landscapes and complex history to be a revelation.
Stimulated by thoroughly unfamiliar surroundings and deeply inspired by Mexico's artistic and
religious traditions, he began a new series of works called “Nowhere Bodies.” Immersing himself
in his new home, Mercier explored Mexico's rich spiritual underpinnings, its imagery steeped in
the mysteries of life, death, and the unknowable. He began sourcing objects rooted in the
customs of the shaman, the healer, and the spirit guide. Touristic souvenirs and domestic detritus
from local ruins were other sources of curiosity and influence which found their way into the new
Although each sculpture’s body language is fierce and confrontational, there is a visible fragility in
the vertical structures. Each delicately stacked object has its own discrete history involving a
combination of rotation, collapse and rebuild. The trunks and pedestals are constructed from a
set of imposing wood carcasses from the ruins of a collapsed colonial house in Mexico City.
Mercier lathed these wood pieces the way a ceramicist works a slab of clay. His treatment of
wood on a wheel is a natural springboard for Mercier’s additional use of ceramic works, most
often created using traditional Oaxacan processes. The spectral smoke stains on the clay are
traces of an underground firing process where the pieces are burned by wood fires in soil pits.
The digging and burying of the ceramics coupled with the re-erecting of the wood from the fallen
home adds another dimension of vertical growth and resurrection to the circular motion inherent
in the ceramic process. This merger of distinct processes reveals another layer of negotiation
between natural and manmade, construction and demolition, domestic and external, fixed and
As Mercier continued to delve deeper into the cultural life and artistic heritage of Mexico City, he
began to recognize their reflections in the cultural landscape of Los Angeles—but with one
essential difference. Their viewpoints are mirrored but inverse, as South gazes North, and North
looks South, and the border itself serves as the dividing line between staying and leaving,
belonging and being a stranger, the familial and the new frontier. Mexico City's POV is the view of
the resident, the citizen, informed by centuries of unbroken tradition; LA's POV is that of the
visitor, the immigrant, the exiled.
Out of this understanding grew a determination: the works initiated in Mexico City would need to
travel to Los Angeles, where they would be assembled and completed. The in-progress works
that were shipped to California arrived in a way you might receive a pre-fab house. Mercier was
determined to create a platform where he could explore the intersections of each city’s individual
histories. In this regard, the sculptures function as collages as well as geographical constructions.
“Nowhere Bodies” is a series of totemic structures incorporating found objects, signifying survived
histories reclaimed by touristic ventures. Mercier took this collection of cultural evidence to Los
Angeles in an effort to create a dialogue between the two cities about their shared history and
diverging cultural landscapes. In its irresistibly playful and sometimes deadpan execution, the
works embrace a gender ambiguity and meld the past and the future with the present—they are
deeply inspired by place, but not site-specific. The personalities present in each sculpture have
no compass, no origin, loaded histories and unforeseeable futures.

Mara Mckevitt

vue d'exterieur photo: thomas james