Masterpiece, 2015, wood, 305 x 65 x 365 cm

This project comes in the wake of my research around the role of conventions and ideals in our comprehension of the artwork. This approach led me to create artworks that represent tools and raw materials used for artistic production, presentation devices and wrapped forms (the contents of which are inaccessible). In an attempt to renew my practice, I wish to experiment with new techniques and materials; therefore, I would like to put aside casting and molding, to create a single large-scale installation which will reproduce in wood a series of life-size scaffolds around an empty space. With this new artwork, which is still waiting for a title, I want once again to evoke what is not there (the traditional or ideal artwork) by showing external structures of artistic production and presentation. Indeed, this structure is a device used to build things — and perhaps, monumental sculptures — except here, there is nothing to erect. The center is left empty. The structure somewhat becomes the matrix, the mold of a potential artwork. Like my previous works, this piece will be carefully done and finished (use of fine materials and complex techniques) to amplify the uncertainty about what is given to look at: the scaffold possesses the double identity of object and support, of a positive and negative space at the same time.

Entirely done in wood and assembled with handmade wood joints — without using any metal hardware — this artwork will embody many paradoxes. Indeed, scaffolding, which is usually a temporary construction will be presented as permanent, conferring to it a status defying expectations (not to mention that there will be nothing “in construction” in the center). Then, it will be a finished artwork, certainly, but the original function and apparent futility of which would represent the possibility of something constantly evolving. It would also be a wooden handmade structure in place of an industrially made one in rough metal tubing. Moreover, the concrete presence of the scaffolding, normally used to accommodate workers, is a direct challenge to the observer. It suggests a reference to one’s own body and calls to its reasoning. And like in most of my pieces, a play of seduction, a buildup of expectations that will be afterward denied, is put into place throughout this structure made of ladders, which suggest a straightforward use, but definitely remains unattainable.

It was presented at the FOFA Galerie in the exhibition Orderly Objects / Unbuilt Spaces.

Photo credits: Guy L’Heureux