Soundless installation, 50 cm Ø
Fragments of 444 medium vinyl records, wire rope
Sculpture, steel tubes, pvc, variable dimensions
Converted into modules, SeQ-L plastic caps pile up and proliferate from upper grounds to undergrounds, usurping the space.
Composed like a sample, the art piece draws rhythmic curves leaking into the building. The installation links the infinitely small to the infinitely large, plays with the tensions between waves and particles, and revisits physics : DNA branches or string theory.
The title refers to the idea of trauma in line with the molecular memory, a trouble caused by an accident.
Printing lead letters, 400 cm Ø
Small typographic lead strips are strewn over the floor. Dust from dismantled words forms a chaotic mass into which the language is broken up.
The lead material contains in itself the potential of degeneration and loss of language, symptoms of saturnism.
The art piece sounds like an auto-da-fe, dark ceremony emblematic of the worst tactics used for thinking standardization, and raises from their ashes the block capitals for new scores to be improvised.
Entropic phenomenon, the inert matter turns into energy and opens to other possible languages.
Angle grinder, coloured vinyl, silicone
As a tribute to FM Einheit, industrial music pioneer, PORN-NOISE displays a hybrid mating between a virile machine and a virgin icon. Punk energy merges with a melodic overtone in a musical coitus both ironic and threatening.
The electric angle grinder is autopsied, and its steel instrument replaced by a coloured vinyl in a kitsch way.
Enraged noise pop-anesthetized, infernal machine emasculated with a pink 45 rpm record… A nod to industrial music sound aggressions, immediately followed by the tangy wind of pop.
Black plastic found object, Epoxyde, 150 cm
Ground water, polluted by plastic remnants from the sea, here comes back to life, out of their own faeces.
Sarcastic allusion to the oil tanker Amoco Cadiz – which sinking in 1978 caused one of the worst ecological disasters in history – the art piece replays the score of a catastrophe on an oil slick background.
Scraps from the oil silos strewn on the beaches are taken and sampled as a musical sculpture, in an industrial way. Taken in and regurgitated, filtered by life, each element brings back to the mechanic sounds of its origins.
Soundless installation, 800cm
Broken disks, stuck fragments, fractions doubled by a mirror, Staccato scans the space with a sound mass of dull rumbles. 888 vinyls for string instruments : it is the idea of a closed loop, blowing up into atoms remixed around a tight cable, reflecting the trajectory of a silent graphic wave. Like an altar set for the sacrifice of “memory”, the piece plays with the object’s physical and symbolic properties : the vinyl, recording medium of a language both universal and specific, fetishistic icon of a “Barclay” generation, is also this relic from a time passed onto the scrap heap, the waste from mass production. Staccato sculpts the section of a cultural inheritance, weakened and recycled.