ancelindavid@hotmail.com
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2006 tiller, tiles, inseed oil varying size solo show, Module I Palais de Tokyo, Paris 2007 |
2009 bucket, peruke, torso, earrings, mask, tuba for diving, resin 35/70 cm |
Flipper 2008 painted steel, polycarbonate, electric garland (100 m) 300/600/500 cm solo show, Monnaie de Paris 2008 |
Chinese rock 2010 - 2011 utility poles, power lines glass insulators, roller skates, molten plastic varying size group show, Mougins, 2011 |
2010 acrylic on paper 30/40 cm collection Mamco Geneve, Switzerland |
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| Deep blue 2010 - 2011 mixed medias varying size |
sans titre 2009 boots, leather pants, leather belt 40/40/140 cm (with piedestal) |
sans titre 2010 silkscreen printing on stainless steel plate, polish 200/100 cm |
Sea of heartbreak 2006 lifebuoy, rebar, concrete 90/15 cm |
sans titre 2008 eathern ware, stainless steel, silicon high: 90 cm |
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By glaning here and there left out objects, I undertake an analysis of the sculptural potential of their volumes. Shapes are selected for their immediate identification and their underlyingcommon meaning. These are then manipulated and analyzed. Certain aspects, technical, aesthetic, or poetic, allow to make and undo knots of meaning.It is there that lyrical mechanics take place between materials and what they suggest.
Common place referents (maritime, urban) are attached to these plastic manipulations and are a pretext to stage them. The works play their fragile and unstable positions autonomously. Their fragility is the risky and rickety base where they remain between the walls of the space exhibition. Sculptures, screen printings, and paintings answer by associations of ideas, aesthetic correspondances, creating bridges between flatness and volume, uniqueness and multiplicity. The narrative fragments intercross and weave the imaginary threads of an imperceptible abstract canvas. There lies the indecisive relationship between formal interpretation and its literal translation.
Juxtapoz , San Francisco
n°113 June 10