Affiliated to the artistic scene since the beginning of the 80’s, Etienne Bossut uses the classical technic of moulding but also shapes with polyester, (resin and fibreglass) couloured copies of daily life objects. Apparently ready-made, manufactured in reality, the artist’s works of art questions about the serial manufacturing of objects in industrial society, explore the numerous aspects of reality, and ironize on the relationships between the objects and its representations. Yet, the main interest of this processus doesn’t consist in the truth in reproduction, but in the strangeness provoked by the conceptual displacement, furthermore allowing the original recognition of its immortality.
For this exhibition, Etienne Bossut plays with his interest for the them of still life to take advantage of an exclusive conceptual processus. Stood by this processus, the artist catches in plastic, for example, a still life composed by a glass and a pitcher laid down on a tray. Thanks to various and complicated moulds, the totality forms a monochrome and monoblock object, hang on the wall as if it was a painting. But the quotation to Daniel Spoerri’s « snare-pictures » comes to a halt. Etienne Bossut’s work isn’t an assembling of stuck objects but a picture in three dimensions, which, examining the borderline between ready-made, sculpture and painting, explore the different ways of introducing the objects and the relationships between moulding, imprints and marks. As far as Nicole is concerned, it shows us, standing on pedestals in the same way as classical sculptures, mouldings of spread PVC pipes manufactured by the eponymous society. Forms becoming nearly abstract from these elements going out from ther daily life context, and the device for the introduction, summon mischievousness history of sculpture. Thus, Etienne Bossut can opt for repetitive juxtapositions acting like some minimal art devices. But it can also plays, like here, with references to classical painting or modern sculpture.
Etienne Bossut’s work is not an inventory of objects. Metaphor and shift in meaning hold an essential function. By transforming products of the industrial world into copies, the artist means his wish to differ from formalist art, preoccupied above all by its own processus. Comparable to the use of word by Magritte, plastic moulding is thus the sign of a break between the object and its representation.
Translated by Sophie Bain