Ingrid Bachmann

Pelt 4

2012

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models – which Lachapelle has recently begun to make with the help of the latest 3-D printing technology – shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle’s work – for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness – these are the artist’s references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa – Centre d’Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

“Humour is the courtesy of despair .” Chris Marker Pierre Laroche’s interest delves into established codes and symbolic constructions associated with t...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models – which Lachapelle has recently begun to make with the help of the latest 3-D printing technology – shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle’s work – for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness – these are the artist’s references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa – Centre d’Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

Guillaume Lachapelle’s artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful universes which combine objects of undetermined purpose; in this way, he opens the conventions of our reality to fresh disposition. The architecture of his models – which Lachapelle has recently begun to make with the help of the latest 3-D printing technology – shows motifs originating from the everyday, certainly, but seeming strange, alienating or even uncanny when combined as the artist chooses. A kind of transition between two worlds often appears in Lachapelle’s work – for example when the model of a library filled with books curves inwards and reveals a mysterious opening pointing into darkness – these are the artist’s references to spaces and occurrences which may be concealed below the surface of outward semblance. Guillaume Lachapelle has participated in several solo and group exhibitions including Manèges at Circa – Centre d’Exposition Art Contemporain (Montreal) in 2006; Quebec Gold at the Ancien Collège des Jésuites (Rheims, France) in 2008 and in Abracadabra (Edward Day...

When Laurent Lamarche reflects on the concept of origin, he thinks in terms of traces. His vision goes at once forward and backward, knitting together yesterday and tomorrow – thus e...

When Laurent Lamarche reflects on the concept of origin, he thinks in terms of traces. His vision goes at once forward and backward, knitting together yesterday and tomorrow – thus e...

TECHNICAL INFORMATION: Jesus Rafael Soto (June 5, 1923 - January 14, 2005, Venezuelan) Vibrations Metalliques 1969 painted metal with metal rod with nylon string 10 3/4 x 11 3/4 x 5...

10 x 5 x 2 inches paper, pigmented beeswax (encaustic), nylon thread Small paper wall sculptures that are hand painted with encaustic and hand stitched to form tiny boxes...

4 x 10 x 2 inches paper, pigmented beeswax (encaustic), nylon thread Small paper wall sculptures that are hand painted with encaustic and hand stitched to form tiny boxes...

5 x 9 x 2.5 inches paper, pigmented beeswax (encaustic), nylon thread This paper construction is offered by Carrie Haddad Gallery, located in Hudson, NY. Small paper wall sculptures that are hand painted with encaustic and hand stitched to form tiny boxes...

Image, Imagination, Imitation: we can think these three words come from the roots √Im, but it’s not true. It’s necessary to combine the proposition in with mi, that is, √Mei, to obtain this kind of words. √Mei recalls something that catch the attention, that is intermittent and that can change. For the three following artworks we decided to decline the root starting from the concepts of light and sound, using a set of different languages, such as English, Russian, Sanskrit, Latin, Avestan, Greek and Persian, and to create shapes...

*Please inquire for commissions of any other size, color or surface rendering keywords; #sinuous, focus on material, sculptural folds, Aldo Chaparro, use of common materials, crease...