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22 février 2016
Art has always been a mirror of the time and of the sensitivity of society and men who live it. From this premise, the recovery of objects in the service of art is a reflection of our society, a world of over-consumption and waste. This new technique was created in 1914, under the hands of Marcel Duchamp, precursor with his "ready made". The recovery of objects in art has nothing but only evolved since, always with, as a driver, overconsumption and waste.
By diverting their usual use of materials or objects that have been used to make sculptures or paintings, artists like Duchamp, Arman and César could have as leitmotiv "Let’s make beautiful with old"
(Elevage de poussière, Marcel Duchamp)
(A gauche : Une compression de journaux et de voitures par César, en haut à droite : bouchons récupérés par Mary-Ellen Croteau, en bas à droite : Tim Noble et Sue Webster font émerger du chaos des silhouettes figuratives)
As for Sophie Costa or François-Régis Lemonnier, working with recycled materials has an important place in the work of Gérard Clisson, Carré d'artistes®, artist of the week, to realize paintings and sculptures. For ten years, he devoted himself almost exclusively to work on tear, with material from wood. In local woodwork, he retrieves bands of medium or hardboard that he turns into his studio at Maulais, near Parthenay (79). Painted or natural and with undetermined widths, these industrial materials manufactured to precise standards, are destroyed and torn for his creations. The artwork is built early in hazard, without any certainty: "In principle, I do not like to know what I'm going to start, I like to surprise myself"
The pieces of wood, from random sizes and shapes, are stuck on a square format support giving those things somenthing away from his will. Once the first phase of its work is completed, comes a second, more structured, more thought. "I adds elements that bring new colors, give rhythm to my paintings"
Together, these modules then form parallel paths appearance but with uncertain horizons aligned very rhythmically. The result looks like bark or scales suspended in a vacuum.