A propos

L’eau sublimée

Démarche artistique

Dans l’espace tridimensionnel, je déploie  des éléments plastiques qui sont des mises en scène du corps humain capté dans des situations improbables dans lesquelles l’élément liquide joue un rôle absolument essentiel.

Les corps ne sont pas plongés dans l’eau, mais  l’eau qui coule sur des corps en mouvement est saisie dans un instant improbable et absolu, instant où le corps et l’eau deviennent le prolongement l’un de l’autre.

C ’est à la fois le mouvement des corps et celui de l’eau saisis dans l’instant magique de leur conjonction essentielle, l’eau étant saisie comme flux et le corps lui comme forme évidée devenant en quelque sorte liquide.

Ici, la forme, au lieu d’être figée dans l’immobilité d’une statuaire, tend vers la phase sublime qui prolonge l’aboutissement : un mouvement de jaillissement contenu et retenu au bord de l’inachèvement. L’eau qui se trouve projetée au-delà des corps donne lieu à un double mouvement des corps et de l’eau dans lequel le corps devient eau et l’eau devient corps et cela dans la saisie d’un instant plus magique encore que ceux que la photographie nous a habitués à percevoir.

Ce que nous voyons, c’est le devenir eau du corps, devenir saisi comme geste singulier qui les défait et les reconstruit sous une forme à la fois improbable et bien réelle puisque présente devant nos yeux.

Les œuvres semblent toutes hésiter entre l’état solide et liquide. Elles paraissent dans un état de transformation de la matière, dans un entre-deux poétique. Le Bronze devient liquide comme dans un retour à son état originel primitif.

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Enhancing Water

Artistic Approach

The artist now turns to setting up human bodies in uncanny situations in which the liquid element plays an absolutely paramount role.

The Magical Moment

A “post-Archimedic” vision of bodies…

Bodies are not plunged into water, but it is water that flows on moving bodies, and is seized in the improbable, absolute instant where body and water become the extension of one another. Because what these works of art showcase is both the movement of bodies and that of water, seixed in the magical moment of their essential conjunction; water seized as flux and body as a hollowed form that becomes liquid.

Their explosive protraction sets alive instants of living matter that would not otherwise be perceived as forms in the “normal” functioning of our perception. Here, the form, instead of being fixed in statuesque immobility, leans towards the sublime phase that prolongs completion: a movement of contained gush, retained on the edge of incompletion.

Water is projected beyond bodies and gives way to a double movement of bodies and water in which the body becomes water, and water becomes body, all of which happens in the most magical moment, more magical even than those to which photography has accustomed us.

It is a vision that is most absolutely adapted to our resolutely quantic period, where the atom and the drop are the reality from which the visible and sensible stem.

The Sublime: Utmost Fragility and Continued Creation

Bodies, here in the end made almost absent by the movement that hollows form until it reaches its native fragility, seem to both extract themselves from an invisible envelope, and achieve in the movement itself the metamorphosis from which they were born. What we see is the body-as-water genesis, an evolution seized as a singular movement that unraveles them and rebuilds them in a form that is both improbable and real, since it is cast before your eyes.

This body-as-water genesis, set in movement, constitutes the secret message of those pieces, a message whose essence is the artistic presentation of the extreme edge of a beauty that had remained inaccessible until now.

This is what constitutes the core of Duong Le Thai’s artistic approach, and his most personal artistic signature. Indeed, besides giving back to the carnal envelope its dreamy truth, the works of art protract this dream until the moment where it enacts, in the fluidity of a few drops, caught in a silver or gold bronze, the magical instant of creation, as a plastic and mental process. Because this is not about anything other than leading us to a sublime fragility, through aggravation, so as to experience in our flesh the possibilities it contains and retains: to make us remember again that the world is not complete and that continued creation is the only true way of art.