The Grand Complex
Product Code: SEL-SCU-001
- Availability: This creation is waiting for you!
Description
Grand Complex is composed of red pine sapwood from an old piece of barn wood, which has been patiently revalued. Despite the time and energy devoted to working with wood, in the form of a sculpture, the majority of Sébastien's efforts are directed at figuring out how to make the piece of wood speak. How to integrate its screenprint, in the form of a large piece of fabric used to dress the sculpture.
This freestanding sculpture is therefore the result of a process of reflection and above all, listening, to find the perfect balance between the fine lines of the screen printing and the raw appearance of the carved wood.
Once this balance was found, Sébastien used marouflage techniques to apply his screen printing to the sculpture and thus create the final result that we can now contemplate: The Grand Complex.
The artist
Sébastien Lajoie
St-Alexandre-de-Kamouraska
Attracted by physical work and by the acuity of strength movement, I quickly loved the screen printing on textile. I find this feeling there, when the blade passes over the silk with the resistance of the ink, a thick and dense plastisol.
I started by printing abstract patterns on clothes, leading to the creation of Agence Orange 21. I then used canvas mounted on a false frame, printed with rhythmic patterns within a production artistic that I was going to broadcast. Then, I end up developing an interest in textiles, particularly in grain and spinning, which have a great influence on the result of printing. By these details of fabric construction, my "screen-printed" images have been transformed and are more like weaving processes, always imbued with a system and mechanics.
In addition to my screen-printing research, I have always worked with wood, for the same reasons: the physical work of precision and the undeniable trace of action on thought. Wood leaves no chance, especially the stumps of rotten trees, which are always the first pieces to attract me. At the beginning, I worked the material with engravings, allowing me to wrap it, to distort it and make it less organic. Then, I started to use my printed fabrics to dress my sculptures as a designer would.
Sometimes I see huge organic and futuristic buildings, other times the influence of African art ... I like that my creations have several languages and several impressions at the same time.
Marriage, contrast, paradox and sensitivity, so many possibilities open up to this search for transcendence over matter, over color, in connection with this association of wood and textile according to principles of construction and mechanics in an esthetic determinant.
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