HYp0STASIS

Monochromatic black oil on canvas,210x140cm, 2019/2020

Not every construction is meant to hold. Some find their culmination in collapse. Others, complex as cities, borrow from the ruins mental pillars that will serve as structures for new folds, before the partial collapse of their shadowy parts. Some spaces are fundamentally empty, nothing can populate them. Others are unstable and retain only a portion of the material, leaving it to die in the plastic variation of a visibly extinguished mattity. Still others struggle for surface and volume, and trace and dig, entangled in spite of themselves in the meanders of successive movements that surpass them. The canvases, both constructions and building supports, original pillars bearing the upper floors, then catacombs inaccessible for the more recent levels, appear dissociated in time and in the distorted perception we have of the chastened space.

Each tool run functions as a threshold on either side of which the world position is tilted. A Kymé from before to after, from under to over, from addition to deletion, from infinite fold to its wrapping in the bodies supposed to receive them. Like distant, deliberately incomplete evocations of memory, the series is based on the thought of an underside, a backside of the image, a hypostasis, that of an origin in which the constructions taken from the various frames of the points of view set up by Leibniz in his metaphysics and worked on again by Deleuze are materialized, those on the other side where we will not access, thus authorize the birth of a narrative.

The series is articulated as a plastic reflection in permanent development, activated by the presence of the works of the series in the same space and its extension out of frame, in different experiments that are at once virtual, sound and spatial. Hypostases also provokes a more technical questioning because what has been removed, scraped, can never be re-registered in the same way on its medium. The question of re-registration, of re-registration, thus becomes a founding issue of this six-movement series, which oscillates in a permanent tension of survival between different spaces and dangers. Occupied space and emptied space, built space and ruins, equilibrium and collapse, erasure and re-enrollment, and finally, interior and exterior.

This created a tension created by the spaces of condensation, where the site has undergone the most stable constructions, which could be compared to a recording on support of several tracks, which, when listened together, created a complete piece, expressing the culmination of each canvas in the series, or as separate concertos or as a larger work made up of different movements. Each of these unstable anti-constructions allowing the other, on the other side, to continue its movements takes the place of a new hypostasis, as the underground structure and soul of this search. The canvases are thus the result of pre-existing images that have transited through several media and spaces before arriving there, to those refusals of mental images frozen in oil, on canvas where the foundations of a plastic apparatus are highlighted, structured by movements, recordings, delitions and partial re-recording.