{"id":95649,"date":"2021-04-28T09:35:48","date_gmt":"2021-04-28T07:35:48","guid":{"rendered":"https:\/\/www.centredelagravure.be\/?post_type=extra&p=95649"},"modified":"2021-04-28T09:35:49","modified_gmt":"2021-04-28T07:35:49","slug":"b16","status":"publish","type":"extra","link":"https:\/\/www.centredelagravure.be\/en\/extra\/b16\/","title":{"rendered":"Thomas Couderc"},"content":{"rendered":"\n

Les \u0153uvres de Thomas Couderc sont vitalistes<\/span>, elles d\u00e9bordent d\u2019\u00e9nergie que le format qu\u2019elles adoptent peine \u00e0 contenir. Flirtant avec le d\u00e9risoire, le miracle et la po\u00e9sie jaillissent pr\u00e9cis\u00e9ment de ce d\u00e9s\u00e9quilibre entre les moyens et les \u00e9nergies engag\u00e9s et la finalit\u00e9 ou le r\u00e9sultat escompt\u00e9s. L\u2019enjeu cr\u00e9atif est prom\u00e9th\u00e9en, se d\u00e9veloppant avec des gestes simples et efficaces d\u2019assemblage et de construction, au d\u00e9part de mat\u00e9riaux trouv\u00e9s, souvent bruts<\/span>, pouvant d\u2019ailleurs se confronter \u00e0 des technologies de pointe, tels les drones. L\u2019\u0153uvre de Couderc est aussi travers\u00e9e par des fascinations obsessionnelles pour des motifs sp\u00e9cifiques relevant souvent d\u2019un r\u00e9f\u00e9rent culturel li\u00e9 \u00e0 l\u2019enfance (l\u2019ours, le cow\u2011boy\u2026), d\u00e9clin\u00e9s de fa\u00e7on s\u00e9rielle dans ses installations.

C\u2019est ici le personnage de Wonder Woman <\/em>qui sert de point de d\u00e9part \u00e0 l\u2019installation.<\/span> Thomas Couderc d\u00e9veloppe la geste narrative de l\u2019h\u00e9ro\u00efne sur de monumentaux troncs de bois taill\u00e9s, dans un style r\u00e9tro\u2011futuriste \u00e9voquant celui de civilisations disparues. Couderc revient ainsi en les monumentalisant, aux fondamentaux historiques de l’acte de gravure : il reprend en effet la technique des sceaux-cylindres m\u00e9sopotamiens apparus vers la moiti\u00e9 du IVe<\/sup> mill\u00e9naire avant notre \u00e8re. Ces troncs servent de matrices\/rouleaux ayant marqu\u00e9 de reliefs \u00e9ph\u00e9m\u00e8res les palettes de terre pr\u00e9sent\u00e9es aux visiteurs, dans un \u00e9cho \u00e0 l\u2019origine mythique du personnage, qui aurait \u00e9t\u00e9 sculpt\u00e9e dans la glaise par sa m\u00e8re la Reine Hippolyta.<\/span> La pauvret\u00e9 des mat\u00e9riaux, le geste massif et brut, le rendu archa\u00efsant de l\u2019iconographie, la simplicit\u00e9 du dispositif contrastent avec la projection futuriste fantasm\u00e9e de cette h\u00e9ro\u00efne proto\u2011f\u00e9ministe et r\u00e9demptrice, imagin\u00e9e par le psychologue am\u00e9ricain William Moulton Marston en plein deuxi\u00e8me conflit mondial. <\/p>\n\n\n\n

English<\/h2>\n\n\n\n

The works of Thomas Couderc are vitalist<\/span>, they are overflowing with energy that the format they adopt struggles to contain. Flirting with the derisory, the miraculous and the poetic spurt precisely from this unbalance between the means and energies deployed and the finality or results hoped for. The creative endeavor is promethean<\/span>, developing with simple and effective acts of assembly and construction from found materials, often raw, which may also be confronted with cutting-edge technologies, such as drones. Couderc’s work is also imbued with obsessive fascinations for specific motifs often relating to a cultural reference linked to childhood (the bear, the cowboy …), deployed in a serial fashion in his installations.

Here, it is the Wonder Woman<\/em> character that serves as the starting point for the installation.<\/span> Thomas Couderc develops the heroine’s narrative on monumental trunks of cut and brightly painted wood, in a retro-futuristic style reminiscent of lost civilizations. In doing so, his gesture refers to the very ancestors of all forms of engraving, the Mesopotamian cylinder-seals, which appeared around 3500 B.C.. These trunks have directly served as matrices\/rolls marking ephemeral reliefs on the earthen palettes presented alongside them, which by the way echo the mythical origin of the character, who would have been sculpted in clay by her mother Hippolyta, Queen of the Amazons.<\/span> The poverty of materials, the massive and raw gesture, the archaic rendering of the iconography, the simplicity of the set-up contrast with the fantasized futuristic projection of this proto-feminist and redemptive heroine, imagined by the American psychologist William Moulton Marston in the midst of the Second World War.<\/p>\n","protected":false},"featured_media":0,"template":"","class_list":["post-95649","extra","type-extra","status-publish","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra\/95649","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/extra"}],"about":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/types\/extra"}],"wp:attachment":[{"href":"https:\/\/www.centredelagravure.be\/en\/wp-json\/wp\/v2\/media?parent=95649"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}