Clint Neufeld

(various)

2014

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...

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...

The Architecture of Knowledge in the work of Guillaume Lachapelle L. Sasha Gora Jorge Luis Borges imagined the universe as a library, one “composed of an indefinite and perhaps infinite number of hexagonal galleries.” The bookshelves in Guillaume Lachapelle’s rigorously detailed, architectural miniatures are similar imaginings of knowledge, infinity, and the meaning of books. When Lachapelle predominantly sculpted with wood, the library was already present in his work. Take for instance the delicate shelves in Maneges (2004-2006). In 2009, he began to employ 3D printing and since, he has drafted bookshelves as white, intricately printed sculptures. Fissure, 2009, a bookshelf whose centre collapses, like quicksand, into a void; Le piège, 2009, an isolated balcony that protrudes from a bookshelf; Évasion 2, 2011, a fragile staircase that leads to a corridor library. Despite their sculptural form, these pieces never feel static. They suggest something beyond the shelves. Books are often described as gateways to other worlds and the artist Dominique Gonzalez-Foerster exemplifies this literally. In her 2013 La Bibliothèque clandestine at Palais de Tokyo what at first appears to be a bookshelf is actually a rotating door that opens into a secret gallery. For Lachapelle’s sixth solo exhibition at Art Mûr, Vision, we encounter again the library. This time, he employs single-sided mirrors to exaggerate a sense of the infinite, getting closer to Borges’ indefinite library, such as in Awaiting Knowledge (2013). We confront the same architecture in Metro (2013) and Last Night (2013). A library, a subway car and a hallway from the Titanic, respectively, all melt into an intriguing yet alarmingly dark void. Where does the darkness at the end of hall lead to? Lachapelle’s miniatures act as a threshold between what is seen and not seen. Although a good five centuries apart, the printing press and 3D printing both belong to the history of print. However, in Lachapelle’s miniatures, books are separated from their use. We cannot read them. They are rendered decorative, almost fetishized, and so instead we must mediate on their symbolism. This requires imagination. Lachapelle’s models are far too tiny for us to occupy physically, and so we must occupy them with our imagination, as when we occupy books, turning the words into the stories and images of people and places. In Borges’ story, what began as extravagant happiness - the Library of Babel housing all books and holding all of the world’s answers – turned to depression: “The certitude that some shelf in some hexagon held precious books and that these precious books were inaccessible, seemed almost intolerable.” For Lachapelle, books represent a similar anxiety: as much as we know, there is always more that we don’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 unive...

Guillaume Lachapelle's artistic practice is shaped predominantly by sculpture, expressed in the form of installations and detailed miniature models. Lachapelle presents playful unive...

"Kite Series; Guardian III" is an original porcelain sculpture by Marjorie Mau. The work looks like a child's garment, but is executed in porcelain. It is creased and tucked at the n...

Johanan Vitta, painter, born 1941, Jerusalem. Lives in Italy. Education Firenze, Florence, Italy He designed the famous La Sinagoga di Firenze poster. The poster features a painterly synagogue it was done for the “Comunita Israelitica" He has also designed Judaic ritual objects including a menorah that is in a famous museum collection. Arman, Elio Carmi, Eugenio Carmi, Lucio Del Pezzo, Guy De Rougemont, Maurizio Galimberti, David Gerstein, Claude Lalanne, Marino Marinelli, Mimmo Paladino, Arnaldo Pomodoro, Tobia Rava...

Scène de Tauromachie, Pablo Picasso, 1957, Plate, Ceramic, Design, Postwar, Toro Scène de tauromachie Ed. 500 pcs 1957 Red earthenware clay, engobe decoration, knife engraved D.24 c...

Particle IX (Nine) Materials: Ceramic, glaze Year: 2016 The formal languages and frequencies that we find in the natural existence of the universe inform and inspire the investigati...

Peter Voulkos Title: Plate CR952-W Medium: Woodfired ceramic Year: 1989 Signed and dated by the artist Size: approx. 20.5 x 5 inches A West Coast potter and sculptor, Peter Voulkos (1924-2002) led in the development of pottery as an art form. . With an MFA from California College of Arts and Crafts (1952), he taught at Black Mountain College (1953) where he was exposed to the avant-garde. In 1954, Voulkos moved to Los Angeles to become the chairman of a newly established ceramics department at the Los Angeles County Art Institute (later renamed the Otis Art Institute) and soon assembled a remarkable group of students: Paul Soldner, Jerry Rothman, Kenneth Price, John Mason, Henry Takemoto...

This piece is an A.R. round plate by Pablo Picasso, created in 1963. It is made with white earthenware clay plate, decoration in engobes and enamel under glaze in black, red, green, ...