LE FUR Yves.
Resonances
The Contemporary Workshop
Regular price
€7,50
| N° d'inventaire | 26256 |
| Format | 11.5 x 16 |
| Détails | 154 p., black and white illustrations, paperback. |
| Publication | 2023 |
| Etat | Nine |
| ISBN | 9782850350931 |
Untitled and authorless works, the natural forms were collected at many times and in different places around the world. Universal, they appear in the diversity of uses of a plurality of cultures as the material signatures of invisible forces, cult supports or supports of contemplation, links between the natural and the supernatural, the visible and the invisible, but above all as the index of aesthetic concerns.
From Neanderthal man to contemporary artists, these objects reveal the sensitive relationships we have with forms, materials, and the imagination linked to natural substances. Seductive images from the depths of the earth, enigmatic sculptures that were traces of the wind, gestures of water, their reunion opens up a question, that of the fabrication of appearances by the human gaze.
Through our gaze, a confused or indefinable mass can take shape. Thus, without having been touched by the hand of man, uncarved, unmodeled objects, fossil wood, crystal and vines become materials for dreams. Their simple or composite forms seem to deny any representation of reality, but it is up to the viewer to give them meaning. Similarly, sometimes, for lack of reference points, our imagination completely invests the objects that bear witness to little-known cultures. Their forms originally had an aesthetic, symbolic, ritual or other value, which for us often remains hermetic; they are by no means silent and constitute a place of mystery that the gaze tries to decipher in the pleasure of the games of the imagination. These objects, vestiges of often inaccessible cultures, possess an evocative power that affirms their presence and forces our interest, our memory, even our emotion, thus making them penetrate the game of formal encounters.
But we can dispose of objects of nature even more freely, objects without an author, because they offer us a space without the affirmation of an autonomous creative act. The absence of reference points here marks the absence of dialectical support: we care little for the circumstances during which these eroded, polished, patinated or amalgamated elements were transformed into objects. Their existence
depends on a deep relationship with the one who chooses them, the gaze of the collector-collector becoming the essential act, an act of creation. It is this which establishes or annihilates the very power of the object. Everything is linked to the quality of the gaze, to the relationship of eligibility which is established. Without doubt, some attention or an ability to be in a state of fascination is required to penetrate these pieces whose density and opacity prevent easy and instantaneous discovery. It is up to the one who looks at them to conquer an exceptional experience.
These objects thus allow us to question the foundations of our aesthetic choices – there is no pure or objective view – and the genesis of works of art.
Whether one considers objects of nature as being below or beyond any notion of art, their singularity remains striking: they do not hinder aesthetic speculation in any way, they stimulate it. As soon as they are chosen, collected, and therefore diverted, to penetrate either the universe of the sacred as among certain peoples of Africa or Asia, or the profane world of collectors, their primary existence takes on another nature.
The diversity of this type of object is limitless. The author of this work does not intend to establish an inventory or sketch a panorama of natural objects of some formal interest, or arousing curiosity. Yves Le Fur does not propose to isolate them in a hypothetical universe of "absolute forms", but to situate them in relation to our view of works of art.
The "works" in question here have acquired a poetic or spiritual dimension. Is this not our most secret vocation, to transgress the limits of the definable in order to perhaps access the timeless?
From Neanderthal man to contemporary artists, these objects reveal the sensitive relationships we have with forms, materials, and the imagination linked to natural substances. Seductive images from the depths of the earth, enigmatic sculptures that were traces of the wind, gestures of water, their reunion opens up a question, that of the fabrication of appearances by the human gaze.
Through our gaze, a confused or indefinable mass can take shape. Thus, without having been touched by the hand of man, uncarved, unmodeled objects, fossil wood, crystal and vines become materials for dreams. Their simple or composite forms seem to deny any representation of reality, but it is up to the viewer to give them meaning. Similarly, sometimes, for lack of reference points, our imagination completely invests the objects that bear witness to little-known cultures. Their forms originally had an aesthetic, symbolic, ritual or other value, which for us often remains hermetic; they are by no means silent and constitute a place of mystery that the gaze tries to decipher in the pleasure of the games of the imagination. These objects, vestiges of often inaccessible cultures, possess an evocative power that affirms their presence and forces our interest, our memory, even our emotion, thus making them penetrate the game of formal encounters.
But we can dispose of objects of nature even more freely, objects without an author, because they offer us a space without the affirmation of an autonomous creative act. The absence of reference points here marks the absence of dialectical support: we care little for the circumstances during which these eroded, polished, patinated or amalgamated elements were transformed into objects. Their existence
depends on a deep relationship with the one who chooses them, the gaze of the collector-collector becoming the essential act, an act of creation. It is this which establishes or annihilates the very power of the object. Everything is linked to the quality of the gaze, to the relationship of eligibility which is established. Without doubt, some attention or an ability to be in a state of fascination is required to penetrate these pieces whose density and opacity prevent easy and instantaneous discovery. It is up to the one who looks at them to conquer an exceptional experience.
These objects thus allow us to question the foundations of our aesthetic choices – there is no pure or objective view – and the genesis of works of art.
Whether one considers objects of nature as being below or beyond any notion of art, their singularity remains striking: they do not hinder aesthetic speculation in any way, they stimulate it. As soon as they are chosen, collected, and therefore diverted, to penetrate either the universe of the sacred as among certain peoples of Africa or Asia, or the profane world of collectors, their primary existence takes on another nature.
The diversity of this type of object is limitless. The author of this work does not intend to establish an inventory or sketch a panorama of natural objects of some formal interest, or arousing curiosity. Yves Le Fur does not propose to isolate them in a hypothetical universe of "absolute forms", but to situate them in relation to our view of works of art.
The "works" in question here have acquired a poetic or spiritual dimension. Is this not our most secret vocation, to transgress the limits of the definable in order to perhaps access the timeless?
From Neanderthal man to contemporary artists, these objects reveal the sensitive relationships we have with forms, materials, and the imagination linked to natural substances. Seductive images from the depths of the earth, enigmatic sculptures that were traces of the wind, gestures of water, their reunion opens up a question, that of the fabrication of appearances by the human gaze.
Through our gaze, a confused or indefinable mass can take shape. Thus, without having been touched by the hand of man, uncarved, unmodeled objects, fossil wood, crystal and vines become materials for dreams. Their simple or composite forms seem to deny any representation of reality, but it is up to the viewer to give them meaning. Similarly, sometimes, for lack of reference points, our imagination completely invests the objects that bear witness to little-known cultures. Their forms originally had an aesthetic, symbolic, ritual or other value, which for us often remains hermetic; they are by no means silent and constitute a place of mystery that the gaze tries to decipher in the pleasure of the games of the imagination. These objects, vestiges of often inaccessible cultures, possess an evocative power that affirms their presence and forces our interest, our memory, even our emotion, thus making them penetrate the game of formal encounters.
But we can dispose of objects of nature even more freely, objects without an author, because they offer us a space without the affirmation of an autonomous creative act. The absence of reference points here marks the absence of dialectical support: we care little for the circumstances during which these eroded, polished, patinated or amalgamated elements were transformed into objects. Their existence
depends on a deep relationship with the one who chooses them, the gaze of the collector-collector becoming the essential act, an act of creation. It is this which establishes or annihilates the very power of the object. Everything is linked to the quality of the gaze, to the relationship of eligibility which is established. Without doubt, some attention or an ability to be in a state of fascination is required to penetrate these pieces whose density and opacity prevent easy and instantaneous discovery. It is up to the one who looks at them to conquer an exceptional experience.
These objects thus allow us to question the foundations of our aesthetic choices – there is no pure or objective view – and the genesis of works of art.
Whether one considers objects of nature as being below or beyond any notion of art, their singularity remains striking: they do not hinder aesthetic speculation in any way, they stimulate it. As soon as they are chosen, collected, and therefore diverted, to penetrate either the universe of the sacred as among certain peoples of Africa or Asia, or the profane world of collectors, their primary existence takes on another nature.
The diversity of this type of object is limitless. The author of this work does not intend to establish an inventory or sketch a panorama of natural objects of some formal interest, or arousing curiosity. Yves Le Fur does not propose to isolate them in a hypothetical universe of "absolute forms", but to situate them in relation to our view of works of art.
The "works" in question here have acquired a poetic or spiritual dimension. Is this not our most secret vocation, to transgress the limits of the definable in order to perhaps access the timeless?