Patrick Blanchandin, the harmony of opposites
In a sculptural choreographic game, he plays with forms and contrasts, breaks the apparent order, diverts the primary meaning by venturing into seemingly uncommon rapprochements.
The artist works with two distinct processes whose atypical trajectories blend and respond to each other in a certain complementarity. His first creative impulse is the work of iron at the forge, which he models by fire, without addition or subtraction, to create his sound sculptures called Diapasons. Then, wishing to change material and technique, he chooses to carve directly on Robinia (or false acacia) to give birth to his Watchers, to which he adds acrylic paint, sometimes leather and wrought iron glasses.
“I put in relation the sound of the tuning fork and the open mouth of the watchers who observe the world through their glasses. The forging work predates the work on the Watchers, but the two writings are part of the same discourse. “
His gesture surveys the volumes and revives the contrasts. The intertwining of curves and the alternation of segments give her gesture an emotional impulse and a desire for freedom. Patrick Blanchandin’s works are autonomous and acquire their own dimension.
The cuts, the contortions are their own and never seem definitively fixed.
The compositions are envisaged in movement, in mutation. From roots to eternity, under a paradigm erected from the bottom to the top or towards an opening of horizontal perspectives, the artist sculpts lines of force towards new possibilities.
“Verticality has always been a key element in my work, a kind of quest for transcendence, spirituality through matter. Sculpture as a medium between horizontality and verticality, between earth and sky. A dialogue between forged curves and hieratic acacia trunks. ”
Full and slender, the wood-cut watchers with multiple tones reveal a character that is a reference to History.
“A trip to the west of Canada brought me into contact with the totem poles of the Haida Indians. These large polychrome verticals were a real discovery for me. “
The emotional force of these sculptural identities awakens a raw sensation where the domestic and the unknown confront each other, the strange emerges from the familiar. The purity of the forms, the verticality, as well as the performative harmony of the colors invites us to question ourselves on what we see.
“The Watchers are observers of the changing world. They observe us, with open mouths of stupor, sometimes of astonishment, through their glasses to remind us not to forget the fundamentals of our civilization. ”
With the Diapasons, the idea of movement is associated with the lines of calligraphic writing in space. This dialect without code, retranscribes what the real inspires to him. If the writing is not read, it can be listened to. These sound sculptures produce soothing sensory effects, of contemplation, recollection and escape.
“The sound participates in the awakening of our hidden spirituality. ”
The artist sculpts directions that participate in a polysemic apprehension. Totemic wooden postures or anthropomorphic forged appearances, they are all forms of expression that have the power to question in their own way the imaginary and strangeness.
Patrick Blanchandin brings these two sculptural processes together to create new potentialities. It is in this harmonious coexistence that he finds the source of his creativity; by associating the harmony of opposites, a rare conjugation where the known is transformed, letting the same become other.