rodolphe huguet
Baba noël ( 1999-2007)

olivier nottellet

daniel perrier

Exhibition from december 1st 2007 to january 12th 2008
Opening saturday december 1st

Rodolphe Huguet proposes an artistic work which mixes softness and violence in a kind of browsing around the real and metaphorical limits
with materials. By the turning of a soft derision in which it is able to him to be put in scene, it underlines our sociocultural beliefs and
our reference marks which structure the representation and the transformation of reality. With the listening of the fine forms of
traditional materials like the most contemporary techniques, it develops a shifted practice in which humour does not exclude violence,
the care of the detail coincides with the most marked insanity. Indeed, its works are impressed of a certain activism aiming at the
commercial processes by which the representation of reality serves a territorial identity. Then it endorses the role and gets dressed with
the cultural costume of the Western companies for us brought to the sour caricature of our own reference marks.
While being confronted with projects which exceed any direction of measurement, it finds the means of building an imaginary world which
points out at the same time the adventures of a Jules Verne with the critical obsession of a Thomas Bernhard. One does not know any more
where starts the metaphorical play and where still the violence of reality is essential. In India, it asked painters of posters of cinema
to put it in scene in the costume of a Father Christmas at the ten-arms of Siva then was filmed in a ballet improvised in full street
upright on the luggage stand of a cyclist. So sometimes the irony seems to dominate its work, it is always generous. Its challenges
always sincere and are justified by the honest intention to play with the public as with its accomplices. (Jerome Diacre)

La practical of the drawing of Olivier Nottellet goes well beyond the conventional limits of the drawing like intimate notation,
formatted in the tradition of the book or traditional paper. Olivier Nottellet practises, on the other hand, a disseminated drawing, on a
large scale, where the limits between original and reproduction are dismantled by the devices of installation which the artist chooses to
present his work. With the time drawing-shade, drawing-wall and drawing-film, the work of Nottellet has an astonishing power of
appropriation of the places, proportional to new technologies of the image, while remaining, beyond the formal constraints, a true practice
of the line moving, and graphic inscription. Few works today as brilliantly seem to me to draw the theoretical and practical
conclusions from the graphic nature of the image moving as that of Olivier Nottellet

"For a few years my search has tried to cross mainly registers semiotics of various cultural and geographical origins and in which I
tried to make emerge a sure glance, a glance with all while registering me in manner amateur in a humanistic thought. The signs
which represent us, the languages which identify us, the attitudes and gestures which characterize us are the commonplaces of my work. Some
find their origin in ancestral and popular forms (say of Inuits of Greenland and Alaska, of the Hoppis Indians of Colorado while passing
by the Manga culture of Japan to return to the microrécits produce in my district) and more generally everywhere where it is given to me to
reside or walk my curiosity, by considering these territories like the place of emergence of other points of sights, other projects "Daniel
Perrier