Co-laps, exhibition view in Galerie Marine Veilleux, Paris, 2013


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Interview with Etienne Hatt, 3 August 2013

How have you considered this exhibition?

This exhibition is a cut in my substantive work. It brings together and creates an interaction between objects that have been independently produced at a time “t”. As I work through accumulation, repetition and transformation, some objects are derived from forms that have already been shown. Some other forms, recently appeared, will be modified to be presented in other contexts. My approach is more intuitive than it seems. Therefore, the exhibition shows an ongoing research whose purpose can sometimes still be imprecise, as the presence of colors. But you will still perceive the main issues of my work: the sound and, gradually, the movement, evoked by objects that are neither sound nor mobile but on whom you can project mental sound or dynamic images. The colors, according to the principle of synesthesia, can evoke sounds. The pieces seem to be animated by a flow, by a stream. The suggested movement is always wide and calm, never chaotic. But it is solidified, exactly such as liquid plaster or concrete harden after casting, which is a very present technic in the exhibition.

The exhibition is organized in three rooms. Each one connects pieces but seems to invite to a different form of dialogue. The first room presents strangely photorealistic drawings and a curious table on which are arranged some objects. What connections are you looking to create?

The drawings belong to the Aérolithes series. They are based on photographs of airships from the beginning of the 20th century that I slightly modified to make their appearance even more minimal. They are symbolically utopian objects that evokes progress, adventure, the conquest of the skies, scientific research and its military applications. I am fascinated by these topics. The Aérolithes are also silent pockets which slowly crack the sky and move silent air masses. The table is a platform designed as a space in the space. Its outline, the crossing lines and its green color, – a calm but also technical color -, may remind of a playground or a sports field and, of course, an airstrip. The assembled shapes are like «studio objects» and keep a vague status between the model and the accomplished sculpture. The set is a space for projection, such as the model of an undefined project that could exist in a larger scale.

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