Jérôme Touron 1967

Woont in Paris (FR). Werkt in Paris (FR).
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Galerie La Ferronnerie

Add? remove? Inlay, at first it was just as good to put on rather than chisel, to cover over rather than dig up. Crusta, this word that seduces all senses, referred to by the Latins like better mud than bread, gold than marble and bas-relief than coating. In fact, it doesn't matter that one empties out or refills. The encounter of one material against an other material produced a disturbing effect, uneasy to measure. It is like an intrusion, where nobody knows which is the element that is welcome and which is the unknown one. The historians call this acculturation Cultivate, or "elevation of colours; as Touron likes to say, is one type of intrusion. Between decomposition and recomposition, we are given to see these little glass plaques, wrapped with transparent or coloured tape, intriguing until luxury. To the scale of the hand, prehensibles, mouldable and dirty able, super imposed, shaded on three steel soldered slides, this time they recall the intrusion of the spectator. Its open writing, infinity of the never ending spiral. Its a deconstruction of shapes and re-building of the possible world. (Christophe Bident, 2000)

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