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L’ordre des choses, 2015, concrete, iron concrete, 7,9 x 7,9 x 70,9 inches, 7,9 x 7,9 x 90,5 inches, 7,9 x 7,9 x 82,7 inches
Verre soufflé, detail, glass, 44 x 74 inches
Verre soufflé, detail, 2015, glass, 44 x 74 inches
Tension de sol, 2015, green marble, polystyrene, blower, pipe, peat, 27,5 x 33,5 x 25,6 inches
Dans la mesure du saisissable, (tentative n°3), 2015, concrete, wax, metal, 12,6 x 18,1 inches
Dans la mesure du saisissable, (tentative n°4), 2015, concrete, wax, metal, 12,6 x 18,1 inches
Dans la mesure du saisissable, (tentative n°5), 2015, concrete, wax, metal, 12,6 x 18,1 inches
Dans la mesure du saisissable, (tentative n°6), 2015, concrete, wax, metal, 12,6 x 18,1 inches
Dans la mesure du saisissable, (tentative n°7), detail, 2015, concrete, wax, metal, béton, cire, métal, 12,6 x 18,1 inches
À la surface du visible, 2015, Glazed sandstone, metal, water, absorbent paper, Diameter 9,8 x 9 inches
L’espace d’un instant, 2015, cast iron, 4,9 x 4,7 x 4,3 inches
Curated by Thomas Fort
14/11/2015 - 23/01/2016
« Jardin d’hiver », Jean-Baptiste Caron’s new exhibition at the gallery 22,48 m², sounds like a time of latency and distortion, where the invisible can suddenly be seen, the elusive can be captured and the improbable can unexpectedly happen. A furtive breath inspires the artist and breathes amazing transformations both in the works as the space that welcomes them. Jean-Baptiste Caron invests the gallery with an original set of installations, sculptures and paintings in which he explores the potential of the material in order to find new involved forces. The materials are of the most noble as marble to commoner such as concrete, used to translate a territory of the imperceptible. The air is the prey; permanent and pervasive, it remains a priori elusive. The artist sets up various stratagems based on appearances, evoking this invisible reality.
The artist doesn’t necessarily play the role of a scientist or botanist. Rather, he appears as a fictional geologist, experiencing the real, using different techniques to find clues to the truth that he established himself. He cultivates a garden of shapes covered with factories and handicrafts, like a brownfield site or wasteland attributes. Rock, wax, iron and concrete translate this abandoned world while offering new metamorphoses. We are invited to pass through a space where entropy is no longer just a chaos, but becomes a fake field, an indefinite area in which originate volumes emerge to life. The purpose is perhaps to follow Gilgamesh - ancient Sumerian hero, author of the first story of our History - and to browse in his memory in an imaginary garden of precious stones, to fantasizing such epic to raise awareness of the human condition. Jean-Baptiste Caron's works invite the viewer to reflect on the concept of time, his own and that of the world in which it operates.