November-December 2014 … The Global Online Magazine of Arts, Information & Entertainment … Volume 10, Number 6
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On Location/France

 

Capture

Capture, by Grégory Sugnaux (with Daniela Droz) , « Parhelie », Christopher Gerber Gallery, Lausanne, ”Kick Off Party”, Kaserne, Berne 2014

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Grégory Sugnaux :

A germ of doubt into “classical” sculpture

By  Jean-Paul Gavard-Perret

Waves, webbing, truncated shapes : Gregory Sugnaux bends and manipulates the volumes – thicknesses and blocks – and disrupts boundaries between outside and inside.  Thus the images are never simple or obvious. Corners bring to mind the torn canvases of Lucio Fontana. Sugnaux, with trapezoidal or other shapes, clearly enjoys betraying moderns values by introducing an element of doubt.

Something always upsets the principles of totality end homogeneity.

The artist has developed his thinking through close contact with artists such Daniela Droz, a precursor of  relational aesthetics. Gergory Sugnaux likes to undertake partnerships that challenge sculpture’s symbolic authority. The swiss artist uses variations “on the motif” by making openings. With “support-/surface” Vialat invented the disappearance of the frame and provoked crisis in the apprehension of the material delimitations of painting. This stratagem transposed to the scale of a sculpture kills the question of proportion by the modification of constructive and symbolic hierarchies. Plasticity takes over giving the opus a new identity.  The critical mission is what drives his work.

Sugnaux 2

That’s why his sculpture thinking is based on a dialectical principle closely linking ethical and aesthetic orientations in a quest for a human equilibrium, a reality-based hypothesis renewed and further differentiated with each new project that creates poetry of reflection.

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About the author:

Jean-Paul Gavard-Perret contributes the On Location/France column to Ragazine. You can read more about him in About Us.