L'étendue du palpable,
L'étendue du palpable,

2018 (détail), verre, 205 x 2,7 cm glass, 80,7 x 1 inches Unique

Le bruit des mondes, 2018
Le bruit des mondes, 2018

record-player, vinyl, headset, micophone, raspberry-pi, SD card, sound card, 16,5 x 137 x 3,5 inches

No Where Now Here, 2018
No Where Now Here, 2018

glazed earthenware, retractable sleeve thermo, electrode cover,s cables, transformative 16,3 x 44,6 inches

X m3 d’air n°1, 2018
X m3 d’air n°1, 2018

white marble, 10,2 x 15,7 x 9,8 inches

X m3 d’air n°2, 2018
X m3 d’air n°2, 2018

stone, 8,2 x 14,5 x 12,5 inches

X m3 d’air n°3, 2018
X m3 d’air n°3, 2018

stone, 11 x 8,6 x 8,2 inches

X m3 d’air n°4, 2018
X m3 d’air n°4, 2018

alabaster, 9,4 x 14,7 x 8,6 inches

Daydream, 2018
Daydream, 2018

LED tv, wifi router, raspberry-pi, engine, helix, REVP sensor, V2 camera, NodeMCU, video transmitter, video receiver, 47,2 x 23,6 inches

Champs de force
Champs de force

2016, glass, concrete, variables dimensions, view from the exhibition "L'ensemble des circonstances", CNEAI, Chatou, France

Les Secondes devenant des millénaires, 2016, carrara marble, 9.5 x 9.5 x 1.6 inches

Terre Vierge
Terre Vierge

2017, plastic, salt, copper sulphate, zinc, 10,2 x 6,6 x 2,7 inches

Spirare
Spirare

2017, mirror, anti-fog treatment, 17,7 x 10,6 inches

Belle Haleine
Belle Haleine

2016, mirror, metal, anti-fog treatment, 13,3 x 6,6 x 5,9 inches

L'ordre des choses
L'ordre des choses

2016, concrete, iron concrete, 7,8 x 7,8 x 70,8 inches, 7,8 x 7,8 x 90,5 inches, 7,8 x 7,8 x 82,6 inches

Le minuit des mondes
Le minuit des mondes

2015, black crystal, anti-fog treatment, 17,3 x 11,8 x 1,9 inches

Tension de sol
Tension de sol

2015, green marble, polystyrene, blower, pipe, peat, 27,5 x 33,4 x 25,5 inches

Verre soufflé (detail)
Verre soufflé (detail)

2015, glass, 44,2 x 3,6 inches

Verre soufflé
Verre soufflé

2015, glass, steel base, 44,2 x 3,6 inches

L'espace d'un instant
L'espace d'un instant

2016, bronze, 4,9 x 4,7 x 4,3 inches

Dans la mesure du saisissable (tentative n°7) 2015, concrete, wax, metal, 12,5 x 18,1 x 3,1 inches

L'épaisseur de l'air (Chaque respiration est une oeuvre qui n'est inscrite nulle part), 2015, mirror, anti-fog treatment, 39,3 x 23,6 inches

L'épaisseur de l'air (Chaque respiration est une oeuvre qui n'est inscrite nulle part) (détail), 2015, mirror, anti-fog treatment, 39,3 x 23,6 inches

And If Nothing Had Ever Been...
And If Nothing Had Ever Been...

(detail), 2014, mirror, anti-fog treatment, Ø 15,7 inches

La chute des corps
La chute des corps

2015, glass, variable dimensions

Poids et mesures
Poids et mesures

2014, glass, Ø 2,3 x 13,7 inches

La fabrique des courants d'air
La fabrique des courants d'air

2014, fan, wires, sheaves, leads, variable dimensions

Et soudain le réel vacille
Et soudain le réel vacille

2013, blown and cut glass, Ø 2,7 x 10,6 inches, 39,3 x 20 inches, made with Glass-Fabrik

L'oeuvre de toute une vie
L'oeuvre de toute une vie

2013, dust, marble, 39,3 x 20 inches

La somme des possibles
La somme des possibles

2013, mild steel, 9,8 x 9,8 inches

La somme des possibles
La somme des possibles

2013, mild steel, 9,8 x 9,8 inches

La part de l'infini
La part de l'infini

2010-2012, sandstone, variable dimensions

La part de l'infini
La part de l'infini

2010-2012, sandstone, variable dimensions

Le petit attracteur
Le petit attracteur

2012, concrete, plastic, mirror, dust, 19,6 x 19,6 x 6,2 inches

A l'aplomb des hauteurs
A l'aplomb des hauteurs

2012, thread, dust, 3,5 x 1,5 inches

Rémanence
Rémanence

2011, digital print on light box, 17,3 x 12,5 inches

44,96 m²
44,96 m²

2011, mirrors, variable dimensions (inside view)

Mobile de poussière
Mobile de poussière

2010, dust, strings, plexiglas, variable dimensions

Mobile de poussière
Mobile de poussière

2010, view from the exhibition at ARTISSIMA 2014, Lingotto Fiere, Turin, Italy

Alea jacta est
Alea jacta est

2010, sandstone, variable dimensions

Sans titre (souffle)
Sans titre (souffle)

2010, paper, graphite powder, 19,6 x 25,5 inches

1/1

La fabrique des courants d’air

2014, installation, fans, skateboard elements, rope, lead, pulleys, dimensions variable

(Production Eternal Network)

(documentary video of the installation)

"As magic insidiously crosses the whole of Jean-Baptiste Caron's work, he gives in here to show a special effect which itself becomes the artistic object: since the breaths generated by the fans fail to create a real current of air, the artist uses the mechanism that rotates them to simulate the beating of windows. Fans, leaves, wires, weights, skateboard wheels, everything kicks in and deploys the choreography of an empirical mechanism that intends to compete with the "real" wind coming from outside. It's a whole poetic-absurd staging of the void which, despite the heavy strings, leaves us contemplative." Eric Foucault

Jean-Baptiste Caron’s works often provide us an ambivalent feeling. Each time the slightest disturbances feed our imagination. We find ourselves evolving in a suspended universe, without even realizing it. This shift comes from games with gravity, immateriality, optics… For instance, concrete balls are trapped in alveoli of transparent spheres; we exhale a little of ourselves without being caught by the mirrors; matter was dug without having been pierced… If the idea of passage is present, it is more a question of evoking circulations here. As we stumble upon the proposed accesses, our gaze and our mind bifurcate to browse the movements intercepted by various matters. By capturing these various movements (suspended, deviated, implied, printed, fixed, etc.) the artist gives us different states to see whether it is about transformation, gravity, balance/imbalance, hardly anything. He gives us the Time to see. We find ourselves experiencing the time that is, that passes or that has passed. Some works do not give any clue as to the feasibility of their condition and then, conversely in others, one can, inferencing, visualize the necessary gestures to produce the form. This time favourable to the realization of the work is here stopped then fixed to the point of impregnating the work of art. Sometimes we are also given to see the time stretching. It is thus dissected down to the smallest details. This is how seconds become millennia, how a sphere never takes flight, how materials liquefy, soften without going on to the next stage. A coring of time unfolds before our eyes. We also have suspended time to the limit of the flickering, making us apprehend the slightest finger snap that can bring everything back in the course of time. If this was the case, falls would have to be considered. While Sisyphus was condemned to eternally roll a rock on a hill which – before reaching the top – goes down each time, Jean-Baptiste Caron suspends for a moment this infernal loop. Leaving us with the fear of a fall or a flight that could happen at any moment. At other times, the artist gives us a brief possibility to see his work in its wholeness. We’re running out of time. We have no proposals to stop it. The work is revealed in an ephemeral as impalpable breath. More recently we discover the shift of time. We can see or hear again what happened right here, right where we are. We are also told that our presence is not without consequences in the scheme of things. The more Jean-Baptiste Caron gives us to see, the more the rules of logic seem to fade away, letting us believe in the mere action of magic. Delete to reveal what is given to see for the best. The artist acts less in a demiurgical gesture than in a revealing act. Finally, he happens to be a Usher offering the viewer the possibility to become active. A revealing usher not without a touch of humour as he plays with Time. He disrupts it, disturbs us to the point where we wonder what is illusion and what is not.

Leïla Simon.

Mécanique du vivant

2012, concrete, polystyrene, pvc, video, Ø40cm

(video linked to the work)

 

The spherical volume of Mechanics of the living does not have the behavior that one expects. Instead of rolling in a straight line, it takes an unexpected trajectory which ends in a spiral. The spiral, one of the most common forms in nature, also symbolizes for the artist the conquest of his own center of gravity. Where is the balance point, the center of inertia? The curve obtained, close to a Fibonacci spiral, also called gold spiral, is virtually limitless. Nathalie Desmet

Spectre

2018, video, 15′, 
LCD screen, raspberry-pi, neons, 47x30cm


The extent of a light spectrum captured in an empty exhibition hall is replayed on video. The color variations and the alternations of white presented through this device evoke phenomena invisible to
the naked eye. Théo-Mario Coppola

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Il est plus facile de faire tomber une pierre que de la lancer en l’air

(It's easier to drop a stone than toss it in the air)

2007, video, 3’12

This work is one of the first videos that Jean-Baptiste made at the start of his visual art studies. We can detect the premises of certain issues that are at stake in his work and that he has worked to develop since.
Gravity is an integral part of the themes inherent in Jean-Baptiste Caron's work, the question of the fall as well as that of the ascent. He likes to play with our perceptions, to question our relationship with the senses. It sows disorder in the breasts of our certainties, upsets our spatio-temporal landmarks. Through this work, it is a question of liberating ourselves from our ordinary, of liberating ourselves from this force which is constantly exerted on us and conditions our lives, until the construction of reality, its questioning, its absence .