Constructed - deconstructed is a plastic language uslng elementary
geometrlc shapes (lines, planes, volumes...) related to each other through
a mode of organizatlon involvlng random data or scattered readlngs
(perception from various viewpolnts) accordlng to a given space.
What matters here is the use of apparently contradictory concepts as a
prlnclple of contructlon for a plastic project, the latter resulting from a dynamic
antagonlsm and belng perceived both as stable and unstable form or structure.
"... he who holds the contradiction... holds the world."
(Stéphane LUPASCO in "The Three Matters")

1 - expresses a philosophy of dynamlc balance which governs the
organization of matter and the working of thought.
2 - uses an elementary geometric language (lines, planes, volumes...) and
favours the constructive relationship between these elements in a 2D or 3D
space.
3 - redefines the concept of structure as the outcome of a dual action :
constructive and déconstructive: a work is a field of antagonistic forces
which implies stability and unstability.
4 - acknowledges the relevance of the break of discrepancy principle through
whlch a system of organizatlon is open. Random setups are open systems
"par excellence" since they enable the spectator to construct his/her own
reading. Any closed system is banned.
5 - establishes the relationship between work and setting : on the latter
depend not only the perception of a work but also its structure.
6 - takes Into account the dynamlc role of perception : a work is designed
to be perceived both in its continuity and ln its discontinuity.
7 - asserts the dynamlc character of the work : it is motion and energy,
of the same nature as the thought which has produced it. Its rhythmic balance remalns unstable. Any optical phenomenon of a vibratory nature does not
reveal this true dynamic character as a constructive principle. It comes within
the field of visual experience.
8 - favours volume over surface if the latter does not bear a constructed
relatlonship wlth the setting or does not involve what is out of shot in ifs
constructive problematlcs.
9 - as vlrtual motion prevall over actual motion in order to appeal to the
spectator's active behavlour, his/her movement in space. With kinetlc works
active perception Is hindered as we are subjected to their motion.
10 - advlses to use all supports, materials, matters, new techniques
as means of expression.
11 - admlts subjectivity ln the creative process : a work is not exclusively
a mathematlcal model to be consumed.
" The work is the go-between of the abstract categories of science and the living matter of our sensitivity. " U. Eco
12 - asserts the role of the artist as an experimenter : art is above all
a laboratory of ideas which commits each artist individually.
The utopie dimension prevalls over the functional one whlch brought
about the productivist drift of the turn of the century.

Philippe Vacher - 1992