Wilson Trouvé subverts traditional notions of painting and sculpture, nullifies the third dimension where it exists and creates one where it’s missing. This process of destabilization through subversion of reference points and traditional categories also plays on ideas of contraction and dilation, impeded overflow, and excess. It also concerns desired moderation, although contradicted by immoderate gesture, discipline imposed on a universe of violence…Unless it’s the opposite: order jeopardized by the world’s entropy. Inside and outside are no longer perceived in a contradictory manner, Wilson Trouvé alludes to the famous statement by Breton that defined surrealism: “It all leads one to believe that a certain place exists in the mind where life and death, real and imaginary, past and future, the expressible and inexpressible, high and low cease to be perceived contradictorily”. Wilson Trouvé admits his interest in cyclical movement between high and low comes from thought about the baroque and organisation of movement in the composition of painted works created during this period, as well as sculpture and architecture from this epoch. One also finds an obvious affinity for Duchamp’s thought on the “inframince” (infra-thin). Excerpt from a text by Louis Doucet, 2008
The best artists of the French art scene
Milky-Way
Wilson Trouvé
8 000 €Year : 2008
Artists generation : Born in the 80's
Category : Installation
Method : Sommier à lattes peint (noir) et colle thermofusible blanche
Size : 188 cm x 138 cm
Wilson Trouvé
Wilson Trouvé was born in 1980. Graduated from DNSEP (Master) in Art, Villa Arson (Ecole Nationale Supérieure d'Art de Nice, France) in 2013 and from DNAP Art, Ecole Régionale des Beaux-Arts de Rennes (France) in 2001. He lives and works in Brussels (Belgium).
When we see Wilson Trouvé’s coloured forms, what strikes us first is the how meticulously they are made. Like Mezzapelle, he uses the most recent techniques and materials, even if he continually returns to clay, like the former goes back to plaster and/or wood. Some of his wall reliefs evoke technological elements: control panels and computer circuits or enormous legos. However, his leitmotiv seems to be the drip, as if all those materials had produced a surplus and this surplus created an overflow. We spoke about the drip with Anita Molinero and her melted materials that precede or follow a catastrophe, or in any case are never far away. But for Trouvé, the drips carry no violence and the surplus isn’t in the least grating or aggressive, they are ingredients for indulgence in sweets without a second thought, total sensual pleasure. Could it be that the ceramic term bisque or “biscuit” in French, leads us to pastry? What’s astonishing lies in this full and complete claim to frolic about in pleasure without exclusion. It’s not just about taking pleasure in matter, but also in objects, like the tea service with liquid brimming over. Breaking brings an additional decorative element, soiling embellishes. These arranged cracks and stains whose transgression space is restrained, is as if the playground for rolling round in the dirt were adjacent to a corseted, or too pristinely kept world. This carefully measured trash reflects all the pleasures of libertinage, a space of adolescent freedom. Frédéric Vallabrègue, Catalogue text extract from the exhibition of Marseille-Luminy School of Fine Arts artist-teachers at the SOPSI Gallery, Shanghaï, 2010
