March 15 > 30 | Salle Gilbert-Gaillard | 2, rue Saint-Pierre
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Sculptures | Machines | Vidéos
The Dawn of Snow
Written by the artist, an enigmatic sentence appears on the screen:
Going out under the moonlight and discovering the dawn of snow
Composed of star dust, life will once again become star dust.
Faced with this certainty, mankind has created metaphysics, a mythology and beliefs, that is: a view of the mind. Thus, in our mind, one can clearly see that the mirage, or poetic image, is only a cosmic image missing from the cosmos, coming from very far away, eternally invisible, mobile and dreamlike in the depths of our being. Belonging to the mysteries of a shimmering consciousness, these appearances-disappearances of images-mirages, propose nothing more than to put us back at the center of our universe.
By constantly developing this theme of wonder – which is that of instant reverie – Fabien Chalon constantly challenges us to feel the attraction of absolute simplicity, to live the experience of our presence in the magical moment of the poetic image, that is, to perceive an instant of it in ourselves, in all the ecstasy. But this encounter with the scent of eternity will come at a price: We will have to know how to move from unlived images to improbable and whirling images of poetry.
In short, we will need to know how to reach the innocence of the senses.
The inspiration for Lulu Blanche lies in the ethereal imagination, which is dear to the artist.
Animated by the breath of the spectator – creator (with air coming from within), Lulu Blanche begins with an injunction:
“I teach you the superhuman! »
Taken from the work F. Nietzsche, this sentence by Zarathustra expresses a symbolic vision of the world in which depth is paramount.
Symbolic is breath, symbolic is flight, symbolic is the rolling of the white ball, symbolic is this mechanism of elevatory thinking.
If the real verticality that emerges from flight is nothing more than the expression of psychological phenomena, then lightness and heaviness will only express the qualities of the soul.
As for vertigo, it is the expression of the failing soul who is afraid of the idea of its moral fall. Lulu Blanche posits the principle that you don’t fly because you have wings, but that you feel winged because you have flown.
Seen from Stars
“A dream in front of smoke: this is the starting point of a metaphysics of the imagination.”
For more than 25 years, Fabien Chalon has been relentlessly exploring the mysteries of the mechanism of elevatory thinking.
Responding to our attraction for the poetry of immensity, the artist invites us to explore the substance of our imagination.
Could moving air be this substance?
Seen from Stars proposes an aesthetic answer to this metaphysical question, by creating the presence of its own space.
The work designates a space to be conquered, a poetic and intimate space, invisible to the eyes, essentially animated vertically, in which one can only enter by starting out with a thirst for imagination and elevation.
Convinced that this mechanism of elevatory thinking is not a vain metaphor, and that the entire history of the universe flows within each of us, Fabien Chalon shows that subconscious images stemming from verticality bring man into the realm of fundamental values. The artist shares with us this idea: man is the only subject of the verb imagine.
Mr. Anselin is a summary of history and its infamies.
Following the path of an initiatory journey symbolized by the movement of an ivory ball through the obstacles of life and the elements – water, fog, fire, wind – the spectator watches helplessly as anonymous people reunite on a station platform.
Like all the others, Mr. Anselin is expected.
Like many others, he never returned.
Fabien Chalon’s sculptures, that we could qualify as “intimate sculptures”, fit in with his way of thinking as an artist about the relationship between man and space-time and its consequences, both philosophical and metaphysical of each one’s perception of the present instant. He must imagine and conceive his sculptures so that they will never be permanent or definitive objects as in classical sculptures, but must be constantly connected with the movement of the procedure of the imagination, that leads to the consciousness of the instant. The consciousness of “the instant” is an experience of loneliness. That is why its intimacy is so deep.
Fabien Chalon’s sculptures bring to light the idea that time is a reality tightened around an instant and floating between two nothingness’. How many people, after having seen one of his works in movement, have said: “I’m back from far away”. Time, when limited to an instant, isolates us, not only from others, but from ourselves, because it disconnects from our dear past. If one is only conscience of oneself in the present instant, then how can we not see that the present instant is the only domain where reality can be proved ?
So, Fabien Chalon has become, with time, both an artist of intimacy and of the instant. While wanting to serve a poetical diversion of the object, he leads us to moments of disjunction, to sacred moments, to an ultimate point where the real dissolves into surprise and wonder, an instant of absolute where each one discovers he is troubled when facing his own imagination.