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The David Bloch Gallery presents a retrospective online exhibition of the works of Sébastien Preschoux.
The French artist – represented since 2010 – has had five personal exhibitions in the gallery in Marrakech.
Sebastien Preschoux – 1974 / Paris
Deeply influenced by the optical art, but also by the values of Bauhaus teaching advocating an instruction focused on the fundamental value of manual work, Sebastian tirelessly creates increasingly complex designs that can compete with what a machine could produce in a few moments. Through this process he has created a visual confusion in the viewer that can lead him to wonder about the origin (human or mechanical) of his work. But it is only by approaching that the spectator will have been able to identify the stigmata of the passage of the human hand, attitude that Sebastien names the reward of the curious.
His work is not limited to a 2-dimensional production, but finds a 3-dimensional correspondence through threads installations, often made in the natural environment, thus offering him perfect freedom both in terms of size and diversity. For this, he works in collaboration with the photographer Ludovic LE COUSTER, who also works with non-digital tools, but prefers medium-format film cameras.
By watching Sébastien PRESCHOUX at work, we perceive the oscillation between the serenity of an art piece built without haste and the tension of an infinitely precise gesture, gracefully moderated, drastically governed by a process of measures and counting. The work stretches over time, punctuated by the repeated gestures of the rulers and compasses handling. Without impatience, Sébastien PRESCHOUX unwinds the drawing movement in time, let the material spread in the space. In two dimensions, Sébastien PRESCHOUX’s drawings seem livened up of vibrations, perhaps attributable to the inherent imperfections of the fallible nature of the hand. Three dimensional, the installations diffract the light and find in the natural surrounding of their implementation an obvious case. The border between art and crafts is unstable and the homology with the digital depiction too disturbing. A look without demanding will be misleading. The creative work endurance raises the «sine qua none» condition of a benevolent slow visit, so that the encounter between the eye and the object can be real, allowing what Sébastien PRESCHOUX names «the reward of the curious».
Valérie NAM
