Geometrical expression is a universal language: ancient and classical
civilisations have ruled their artistic patterns on a geometry dlsciplining
instability and the XXth century has purified this langage by giving it a specific
expressive strength.
This qualifier situates the field of a plastics language but does not define the
problematics of it enough.
Far away from the Ideological or purist orientations, my plastics research
declines the unstable equilibrium which structures the apparent cohesion of the
world by using elementary shapes and volumes submitted to a gymnastics of
the partition, the distortion, the imbalance (surfaces broken by folding lines or
distributions of contrasted values, utilization of discordant perspectives,
dynamic orientation of the pieces.. .)
The accent is placed on the optic instability sensation through plastic
interventions that I would call dynamic events upon plans taking the
appearance of volumes or volumes which decline new identities.
A sequential or alternative reading associates the contradictory but
complementary poles of continuity-discontlnuity, positiveness-negativeness,
fullnessemptiness, presence-absence, accordlng to the perception angle.
When several elements are producted at random, their rythmic forms challenge
and conserve ln the space field. It's the case of the "Choregraphies of the
square" where the shapes result from a conjugation of perspectives magnified
by a set of materialized colours and shadows: every element becomes the actor
of a weightlessness choregraphy.
This energizing problematics does not spoll the original purity of the geometric
language. It gives it a new life, a new appearance the elegance of which owes a
lot to the moderation and the pertinency of each plastic proposaI.
The evolution of sciences has taught us the relativity of any reference system.
An art work is the opposlte of a formal equation. It considers the geometry
language as a way of playing with the world by revealling its dynamic, subtle
and fragile balances.
"The art work is a mediator between the abstract categories of science and the
living substance of our sensitivity."
(Umberto ECO)

Philippe Vacher - 1999