Nicolas Daubanes

Hexagon

 

Jeanne Berbinau Aubry

Urgens

 

Exhibition from October 14 to December 23, 2017

 

Nicolas Daubanes

I invest essential questions: life, death, the human condition and the social forms that shape them. In my last works, the speed, the fragility, the porosity, the ghostly aspect of the images and materials, transmit the pressure of the past at the crossroads of what will come. My work is part of the duration, it draws a path, a trajectory which tends towards the search for freedom, the release of the constraint. I try to experiment with intensity and rigor, I play with danger, mental, visual, physical, to reinforce the creative energy and transmit its strength.

I am driven by my history, my own existential questions and by the choice of a permanent and subtle adequacy between form and content. For example: the silicone, the one usually used to restore heritage buildings, transposed, allows to create a new space that visually induces the disappearance of the original wall and suggests a possible escape (Membranes Series). In this way, moult and skin are introduced into my subject. The iron filings used in the drawings refer to the bars of the prisons, but also to the files which allow the escape. This fine and dangerous material for the eye is deposited by magnetization while the least breath can make disappear the drawing. What appears is fragile, we must take care of it and know that everything is ephemeral. The sugar-laden concrete, inspired by the vain gesture of the resistance fighters during the Second World War, corroborates the fleeting, temporary character of the objects produced in my work. It is a question of seeing before the fall, before the ruin, the vital impulse.

 

 

 

 

 

 

Jeanne Berbinau Aubry

Urgens; present participle derived from the Latin “urgeo”: to press, push forward, make advance, attack sharply, attach to, excite, pursue, tighten, charge, overwhelm, torment, compress, sustain, persist.

Jeanne Berbinau Aubry’s productions question natural and mechanical phenomena. In her sculpture and installation work, she hijacks objects by transposing their initial state into sometimes paradoxical alternatives. The fictionalization processes of her works are long stages of macerations of an idea, a knowledge or a technique, which are part of a multi-dimensional apprehension of reality.

Benjamin Laugier, extract

 

 

 

 

 

Photographs from the exhibition © François Fernandez