Touching the Earth: Ritual Drawings
Touching the Earth is a sand art installation of the ancestral tradition of powder drawing. In what Latuner calls the 'transported gesture', she displaces the ancestral traditions of powder drawing: those learned in South India, on the doorsteps of houses at dawn with Indian women, or elsewhere in the temples of Kerala with the artists/officiants. The drawing of powder becomes a passer from one world to another, circulating from the ground to the bodies, and is crossed by the deities then must be erased in order to disperse the powders for a time sacredized and close the ritual moment.
The powders used are those collected in the landscapes around San Francisco: sand, sandstone, and Arizona soil. This practice also aims to be linked to the places, the soils, the richness and diversity of the natural powders of the surrounding landscapes. In this way, weaving links with the sublime nature of the American West and with the history of its sacred lands.
This installation is a tribute to all these ritual traditions, opening up important paths for a humanity that is sensitive and respectful of the Other: Body, Plants, or Star Dust.
Marie-Thérèse Latuner has been regularly exhibiting works of powder drawings and performances for the past twenty years, accompanied by various dancers in France and Paris, most notably: Night of the museums at the National Museum of Asian Arts in Guimet (Paris), and Centre d'art contemporain de Clamart, Galerie d'art contemporain d'Auvers-sur-Oise, Institut des Cultures d'Islam (Paris).She collaborated with Hermès in Pantin, in collaboration with the Musée Guimet, on a day devoted to mandalas.
She has participated in various Biennales of contemporary art, most recently that of Sarria in Spain, the Biennale of art of Nîmes, and in the field of dance at various festivals. She has also been invited to various artist residencies including Alliance française de Pondichery (South India) and the Mahatma Gandhi International School of Ahmedabad in Gujarat (India).
At the end of 2013, she defended a Ph.D dedicated to her practice:
"Drawings - Ritual Practices – Dance : Porosities and Transports", with the jury's congratulations. In 2016, she participated in the writing of the catalogue for the exhibition Carambolages au Grand Palais, at the invitation of exhibition curator Jean-Hubert Martin.