The exhibition crosses several lines of research by Arnaud Vasseux, in relation to the activity of walking, displacement, natural elements and their transformation.
The representations commonly associated with sculpture show in this art types of objects and spatial configurations offering the image, more or less readable as such, of a production process during which a material has been transformed – and informed – because literally “worked by form”.
A less expected situation, some sculptural expressions not only allow us to guess how they were made, but retain faithfully or, better, “assume” in their volumes, textures and accidents the memory of their own formation. In such cases, it is not only the material that is in-formed, but also it that somehow informs the form and, in doing so, gives shape to the sculpture.
That such a memory – in the temporal sense, but also a physical-chemical meaning of the term – remains perceptible, and above all that it can be the subject of particular attention on the part of certain sculptors shows that there are works that not only unfold in space, but inhabit durations, the time of the factory crossing the experiential time of the viewer. These productions give themselves in this as double realities, both completed and unresolved, where two temporal constructions that were thought heterogeneous are fragilely brought together, one in the making, the other less gone than it seems because as a restraint in sculptural materiality.
The exploration of this double temporality guides many of Arnaud Vasseux’s works. The consequences are diverse and radical. Thus, the sculptor never seeks to find or reconstruct a previously designed volume. In form, he substitutes training and project, prefers projection. For if the volume is not given, it is not really sought either as a goal to be achieved, but more carried by the movement that accompanies and records the form.
The tension that the activity and the fixation of the material is present concretely when it, still fluid, is projected against a flexible support – such as the plaster sprayed during the realization of the Cassables – or when it comes to lodge inside a deformable mold – according to the process implemented in the cracked resins and in many other three-dimensional prints.
And if such a conception of sculpture and its gestures proves fatally indifferent to some formal ideality, it is nevertheless attentive to the right forms, attesting with a kind of photographic truthfulness the event of appearing to them. In addition to the form, the function of spatial capture conferred on the sculpture itself is added, this time taking on the meaning of a relay capable of testifying to the interdependence of the work, the spectator and the place that welcomes them. This is why the questions of contact, grip, distance and distance, as well as the tactile suggestions that result from it, are omnipresent in Arnaud Vasseux’s work. They are easily identified in the kind of movement accompanying its footprints, between grip and spacing. Perhaps we can even see in this decisive polarity a discreet reflection of our belonging to the world and our condition as separate beings.
- Exhibition as part of the “Des marches, démarches”program, carried by the Frac Provence-Alpes-Côte d’Azur, based on the artistic proposal of Guillaume Monsaingeon. This event on the scale of the Provence-Alpes-Côte d’Azur territory explores the incredible wealth of travel on a human scale while bringing together many cultural actors of the territory.
Views of the exhibition