Düsseldorf Cologne Open Galleries 2012
In his sculptures and installations Baptiste Debombourg (born in 1978, lives and works in Paris), makes the throwaway society, the legacy of consumerism as well as the media dealing with apocalyptic violence scenarios topics of discussion. His works are the result of transformations. They tell of the deconstruction of the depleted and its new interpretation on a different level. From „Objets trouvés” the artist creates reshaped sculptures which are in a state of transition, negate any aesthetic of use and reduce the originally intended purpose to absurdity. The new construction of the material in sculptures and objects points with some shock and plenty of irony to the transience of the material and the metamorphosis of everyday life.
Debombourg studied sculpture at the Ecole National des Beaux Arts in Lyon and post-graduated at the Ecole National Superior des Beaux Arts in Paris. He was recently proposed in France for the prestigious PRIX MEURICE 2012/2013.
For his exhibition in September, he creates along with the title "Agony in the Garden", a series of "Aggravures", dedicated to critical and contemporary issues including Dürer’s topics referring to religion and the revelation of John.
His delicate Aggravures are "drawings" that result from using thousands of staples. An understanding of Dürer - initiated by last year's invitation to the exhibition "Ars Apocalypsis" at the Kunstverein Gütersloh - coincides with Debombourg’s interest in the mechanisms of degradation and its subsequent reorganization / creation. The derivation of the term "Aggravure" is the engraving – the removal of material, e.g. from a metal plate. In terms of Durer's motives the etching is even closer related to Debombourg’s manner of applying the staples. This technique effects quite the reverse of the engraving and results in a plastic-sculptural structure where the aesthetic appeal of the art of drawing remains nevertheless preserved.
The development of a new technique is at the service of a reinterpretation of major iconographic themes in the history of Western art, introduced by its greatest artists. Debombourg matches with the power of these icons and updates them accordingly. For his exhibition at krupic kersting kersting gallery he creates a crucifixion scene, based on an engraving by Dürer, that is radically uncompromising.
Through the use of staples carved in wood the suffering of Christ is almost physically tangible. The subversive motive choice of a double-headed Jesus – as well as further contemporary works using the Aggravure technique – establish a sensible moment of uncertainty that leaves room for metaphysical and spiritual doubt. More than the duality of Christ is that of man - and all humanity in general - which is here set in process.
krupic kersting galerie||kuk and Baptiste Brun, critic and lecturer at Louvre school
The Aggravures were realised by the friendly support of Rapid -Esselte Group-