Echafaudage d'intérieur/ Indoor scaffolding

Camille Tan
bambous, colliers de serrages galvanisés, roulettes platines pivotantes, clips en métal, boulons et visses acier, écrous galvanisés papillons, mousse polyuréthane
65x140cm x 260cm
Year of creation:
65x140x260 cm - Production 40mcube, 2015 Le bambou est un matériau utilisé en Asie dans l’édification d.. » View more

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65x140x260 cm -
Production 40mcube, 2015
Le bambou est un matériau utilisé en Asie dans l’édification d’échafaudages fixes et sur mesure ; des tiges sont érigées à même le bâtiment en construction et sont assemblées entre elles à l’aide de simples câbles ou cordages. Echafaudage d’intérieur rappelle l’échafaudage pliable vendu en magasins de bricolage mais opère en fait par change- ment de contexte; on déplace la culture, la technique et l’usage d’un matériau dans un objet nouvellement designé. L’objet sculptural allie l’originalité d’un ‘savoir-faire in situ’ (échafaudages en kit, d’extérieur utilisés dans les travaux publics en Asie) à l’image d’une fabrication usinée, d’un produit vendu en grande distribution.
En jouant sur l’articulation de références issues de la culture orientale, l’outil se contamine à l’oeuvre et interroge son propre statut; il vient ainsi questionner les paradoxes du mimétisme par un jeu de tautologies matériaulogiques.
In my work, the matter is constrained, just like the body, both in action and in the making, it is tested. Therefore, it is common to build tensions, ambiguities, to play with forces and sometimes to bring the matter to cause its own breaking. The trace, the manufacturing processes, the accidents ; every coincidence is important. Trivial objects, brand-new daily materials or materials extracted from their initial contexts reveal the reality of a changing world, crumbles and rebuilds itself but also of a world which abandons, throws away and continuously buys other objects. My approach reconsiders the relationship between sculpture, space, time and action, by questioning the experience and the future of these objects. These experiences reveal an attempt to command the entropy. I often try to thwart time by modifying the stage of life of the objects, by altering their states. Slowing down the erosion process by freezing the ephemeral or speeding up the process by aggravating deterioration. The idea is to enhance their actual structures and their properties through proposed sculptures and installations which challenge their possibilities and their plasticities

EESAB was founded on December 27, 2010. It brings together the higher art schools in Brest, Lorient, Quimper and Rennes. These four schools had previously been part of a single association for over twenty years. This association was formed to promote and develop the higher arts schools in Brittany and played a unifying role in promoting their activities and forming partnerships with other cultural establishments.

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