Tezos

Page 12:“Le creuset”

Creator

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Description

I. From Furniture to the Sacred: In a modern curatorial approach, the choice of the footstool is not merely recycling; it is a desacralization of the domestic object in favor of a sacralization of the formless. The Infra-Thin and Utilitarianism: By using the stool as a “backbone,” I perform a kind of autopsy of the everyday. The object loses its functional value (supporting the body) to acquire an exhibition value (supporting chaos). Parasitic Interpretation: Clay and acrylic act as an aesthetic mutation on the geometric wood. It is the triumph of the organic over the industrial, reminiscent of the transitional works between Nouveau Réalisme and Arte Povera. II. The Bargue/Digital Dialectic: A Temporal Collision: The dialogue between Charles Bargue's lectures and digital animation creates what is called heterochrony: the simultaneous presence of several time scales within the same work. The Spectre of the Academy: Bargue's structure represents the modernist "Grid," order and discipline. By binding it with ropes, I stage the agony of classicism. Aurora as Data Stream: Animation is no longer just color; it is a vector of liberation. In a curatorial context, one would speak of "the emancipation of the pixel." While stone is subject to gravity (Lead), the digital line breaks free from it. This is the passage from matter-as-weight to matter-as-energy. III. Solutio (The Dissolution): The attack on forms, the etching of the mind, as an Aesthetic Strategy: The concept of Nigredo (the blackening) is reinterpreted here as an aesthetic of contamination. Exiting the Frame: The black drips that contaminate the environment reflect a desire to abolish the boundary between the artwork and the gallery space. The work is not viewed, it is experienced like an oil spill. Critical Alchemy: I do not transform lead into gold; I transmute technical memory (Bargue's drawing) into pure vibration. “Le creuset” then becomes a laboratory of deconstruction where destruction is not an end in itself, but a research methodology. Synthesis for an exhibition catalog: "In 'The Crucible,' the artist performs a 'surgery of the formless.' By fusing the rigid skeleton of academicism (Bargue) and the carcass of a sacrificed domestic object, he creates a hybrid body in the throes of Solutio (La Dissolution)." This dark, viscous, and telluric mass is saved from inertia only by the irruption of digital animation. These chromatic bursts act like electrical discharges on an exquisite corpse, marking the precise moment when matter fades before the light: the passage from the weight of the world to the fluidity of the spirit. Page 12: “Le creuset” Phase: Nigredo (II) – Solutio (La Dissolution) Source Material:(cour de dessin Bargue) Medium: Digital Animation on Combine Painting Base Elements: Clay, Wood, rope, canvas, Acrylic Concept: Subrealism Philosophy: Alchemy Format: 8k mp4 Video | 1 min | 7680 x 3490 | 182 Mo