Florian Pugnaire pays particular attention to the notion of the workshop as a place of practice, but also as a place of ﬁction, an in-between where the goal of work is not yet defined and where everything can still be invented or modiﬁed. Through a personal or collaborative practice (with David Raffini), he shows an interest in the process of fabrication and creation, and situates his work in an intermediate space between the workshop and the exhibition space.
He works on the material, time and space contained in the act of creation. In this, he joins Robert Morris, who – in rejection with Greenbergian thought – refused in 1970 to see the work as a timeless, finished object, which would only be experienced optically: “I think that, in the past (…), such efforts [the creative process] have been seen as an unsystematized sequence of technical, anecdotal or biographical facts, unrelated to the real “work”, plated as a timeless deposit and frozen on the flypaper of culture. 1 »
Through a field of cultural references revolving around martial arts (L.E.W. Q , Shadow Boxing, Stunt Lab), the automobile (Dyane +, Expanded Crash) and the world of the building site (In Fine, Meurtrières), Florian Pugnaire produces constant back and forth between sculpture and video: “These connections between ﬁlm and sculpture, then between sculpture and narrative, involving the time factor and summoning the image, are the essential data of Florian Pugnaire’s personal works (the recent Stunt Lab, ﬁlm of a combat choreographing the destruction of a set, projected with the compression of the latter at its side, offers a very immediate example of these combinations. 2 »