THE PATIO

View of Bidonville

Le Bidonville, Vence.

« – I AM AN OBJECT SHOWMAN ».

 

Au boulot
Le Salon Mécanique

Le Bidonville, Vence.

By the fountain, a dining room:

THE MECHANICAL  LOUNGE

 

An accumulation of mechanical gearwheels with tractor seats monted on industrial springs.

Armand Fernandez was born in Nice on november 17th, 1928.
 
The young painter who was making serial painting works of nice landscapes, went from the representation of the object to its presentation a declic and everything changes…

 

THE "CACHETS"
 
 
In the beginning, with the cachets, the object was used to leave a trace.
 

THE "ALLURE D'OBJET"

 

The term "allure d'objet" is a word highjacked from concrete music.  
 
The object is dipped into ink.
 
It can be an egg, a shoe, a gearwheel, a bottle, a spring, a necklace etc.
 
Then, it is rolled on the canvas, accidents happen...
 
Thus a trajectory is imprinted.

THE ACCUMULATION
Arman used to say that he did not discover accumulation but that it was accumulation that discovered him.
 
 
As he is looking at a drawer filled up with radio bulbs he understands that it is a complete work.
 
He fixes a rhodoid on the box/drawer and paints the sides in black. The object seen and taken, is represented and exposed. He decides to show it as such. The accumulation is born.

THE POUBELLE
 
Arman explains that with the garbage, man is confronted to what disgusts him. If garbage is stuck into plastic,the quality of the object is then transformed.
 
And the viewer is protected.
 
THE IMPRINT, THE CUT

 
The cut is to see the inside and the outside at the same time. the inside of things, means having access to what is hidden, to the secret of things, to be a demiurge who decomposes and rebuilds to show us better the object in the completeness of its most intimate constitution.
 
" - As a child, I went to see exhibitions with my father. There I discovred the inside of things thanks to industrial cut. "
 
" -These are the guts (heart and soul) of the object."

THE RAGE
" - It is the gesture that led me to the object."

 
Arman breaks the object on the support.  He keeps the pieces to stick them on the work.
 
That’s the logic of the gesture that brings him to the logic of the object. The just gesture (not to be confused with just a gesture) is controled and creates.
 
Arman applies the gesture on objects on which we wants to show the transformation. This gesture that he calls rage, not without some provocation, brings a new dimension, a more captivating presence, source of interrogation on the fate of things.
 
Isn't it art’s purpose ?
 
THE POLYMERIC, CONCRETE INCLUSION 

 

To employ the object is to use its capacity to be treated into various forms. When the object is presented, there is an interaction between the chosen support and the materials used.
 
If you put the object in a box, it is not the same final result as if it is included in polyester or in plexiglas.
 

Arman liked concrete a lot.
He thought that concrete evocates fossiles. Treated in this manner objects acquires a new statute; fossilized in concrete it makes a new fate for the object.
 

The secret of accumulation ?
Objects become rapidly abstract when accumulated. This happens very quickly in the accumulation of small objects.
Bigger objects keep their identity longer. A rule: the critical mass.
Certain thresholds must not be exceeded in the number.

MANY LISAS

1993
EDITION SIZE: Unique and original work of art
TECHNIQUE: Accumulation fondamentale
DIMENSIONS IN INCHES.: 23,2 x 18,9 x 1,8
MEDIUM: Postal cards in a plexiglas box.

16-01-vers 12 13 ans.mp3
16-02-laPremiereAccumulation
16-03-desSuccessions
16-04-J'arriveAPenserMesTravaux
16-05-quandJ'envisage
16-06-JeSaisREconnaitre
16-07-jeTravaileParSeries
16-08-JeTravaillLaNuitSurtout
16-09-QuandJeTravaille