The exhibition SUSPENDED could be compared to a map of an archipelago, with different islands connected together. By bringing together works each exploring very different media- namely drawing, sculpture and video- the latter strengthens ties that bind them. In a line, in a block, or as a loop, their narrations find their inherent vibration increased in a configuration that seeks dialogue more than harmonization.
These three artists – the Korean Sang-Sobi Homme, fond of Japanese culture, the American Jonathan Monaghan and the French artist Géraud Soulhiol - all share a common desire to create miniature and distant worlds, devoid of human presence, and to deploy them within a serial logic.
Just like islands, precious and suspended between utopia and parts of reality, their patient works seize the things of the world to build new ones. Their strangeness appears necessary for us to consider the everyday life with a different look, and thus conceive astonishment, these artworks call for a true time out, a break for contemplation, suspension…
These composite, synecdochic and closed worlds are proposals for a new horizon from where one can think about the world that surrounds and envelopes us. They work like an aposiopesis that totally emphasizes the discourse by interrupting it, like the sonnet that completely counts its feet to set the whole language in motion, like the star that makes our thirst for infinite shining or the continent in which the entire promise of an island lies in, and the other way round.
Like a tightrope walk, Géraud Soulhiol’s architectural drawings weave the time links again according to their own patterns. Making latitudes and longitudes obsolete, skyline and depth of field become the benchmarks of a new dimension that changes our perception.
With his sculptures, Sang-Sobi Homme urges us to go beyond the first stage of perception, for us to move down the sensual and spiritual road. By taking up traditional japanese modes and methods, he shapes islands resembling zen gardens, opened to an inviting exercise of contemplation.
And in the middle of a smooth fight, Sang-Sobi Homme clean and erotic lines meet the baroque and visceral aesthetic that colours Jonathan Monaghan’s production. Using incongruity and contrasts, he makes a mordant critique of the consumer society and its undesirable futures.  

 Stephanie Vidal 

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PRESS RELEASE