Constantly aware of his own fragility, man keeps searching for stability, just like the abstract artists of the turn of the century whose quest for pure universal form led them to a fascination with geometry. But the progress of science has made us aware of the relativity of systems of reference. The sensible world of forms is illusion. All is movement.
Instability is at the heart of the matter which swings between two poles, two forms of nothingness: absolute homogeneous or heterogeneous states. The rule of the game is complex. It goes beyond our understanding, fills us with wonder and thrusts us into dizzying reflexion: isn't thought the ultimate stage of an immensely complex and fragile matter, watching itself in its own mirror?
The artist opens a window onto this unstable dimension of reality. The scope of this prospect compares to that of the Renaissance, no less: if we manipulate the most elementary forms of geometry, such as the square or the cube, we reactivate our perception while revealing the underlying mechanisms which rule the visible order. An open reading of the work, sequential, alternative, mobile, through the plastic interplay of fragmentations, contrasts, directions, mentally compels viewers to an effort of identification.
They grasp the dynamics of the intimate structure of matter, thus visibly perceiving the forces and energies which underlie any sensible configuration. Form is therefore the outcome of structural stakes and we perceive it infinitely more lively, in all its dynamic cohesion.
Philippe Vacher – 1990