Molière Project and Bn PROJECTS are very pleased to invite you to the opening of Roger & Rémi, an exhibition with Roger Remacle and Rémi Lambert, specially conceived by Emmanuel Lambion - Bn PROJECTS, for the space of Molière Project.
Two letters in common, two initials with roaring and swinging resonances: this is maybe what, a priori and on a hasty, playful fashion, could characterize the encounter under the guise of an exhibition between two artists, Roger Remacle and Rémi Lambert. Two artists who seem to be separated by almost everything: generations - Roger is 78 and a half, whereas Rémi is in his 30’s - ; their curricula and paths of life - Roger is from the Ardennes, Belgian and a chemical engineer, Rémi is from Geneva, Swiss and trained as painter and illustrator, first at HEAD / Geneva and then at ERG, Brussels -; their practices - Roger is quintessentially a sculptor, albeit with lateral incursions into other disciplines, while Rémi is a painter - ; their approaches and creative processes - often protocol-based, random, serial and abstract for Roger, as opposed to the subjective, controlled, figurative and dreamlike atmospheres elicited by Rémi.
And nevertheless, there is at least one element, amidst others, which connects their works to one another, an element which triggered the desire to organise this singular curatorial confrontation, and which we will leave to the visitors the leisure to discover or identify by themselves. For is it necessarily so, that each encounter should be explainable or well argued? Isn’t it enough that, in the end, such a confrontation may make and create some kind of sense by itself?
Roger is, as we already said, a chemical engineer by training and has a solid, rational frame of mind. He started his voyage into art as an autodidact in his late forties, applying to his artistic projects the methods and quests of his scientific investigations.
He is quintessentially a sculptor, and, essentially also, the man of one material, industrial plastic, sub specie polyethylene, in its manufactured, tubular and colored fashion, where each color corresponds to a specific original use: black for dirty waters, white for the cleaning of extruders, marine blue for drinking water, cyan blue for Irish drinking water, yellow for gas, red for Japanese gas, orange for communication cables etc.
From his parcours, he retains a fascination for methodology, structure, protocols, whilst simultaneously integrating a fascination for the unforeseen, the random, the autonomous and organic life of matter.
For his work on plastic is dual, combining the cutting and assemblage of tubular sections, so as to organise chosen forms, more or less expressive and often inspired mathematics or language, with, a contrario, the choice of letting the material alter and melt in the heat of an oven.
In both cases, his personal intervention, even if it is decisive and seminal, aims at being as neutral as possible (choice of the initial form in one case, choice of temperature and duration of the melting in the other case).
Deliberately distanced and objective, refusing the anecdote and the narrative, focussed on process, his art nevertheless cannot eschew assuming, both in methods and in result, culturally meaningful messages, which at the same time displace the question of authorship, whilst opening up to a sort of contemplative and metaphysical reflexion on the potential of liberation, transformation and life of a synthetic and man-made material.
The starting point of Rémi’s pictorial gesture seems to be at the antipode of Roger’s protocol-based strict methods.
His colored and contrasted compositions, with alternate vivid and darker accents, and a bold, immediate and vigorous brush, often display a pictorial syntax and an iconography derived from the world of comic strips, punk and black metal. Altogether, his diverse sources of inspiration build up fascinating narratives, in the etymological acception of the word - between attraction and repulsion - incarnated in human, animal or hybrid archetypal figures.
In his own personal way, Rémi seems to reinvent a personal and eclectic mythology, imbued with Nordic accents and a very trash Helvetian kind of humour, flirting in a liminal fashion with Freudian taboos, social interdictions and the politically correct. All this, with dreamlike, malleably dripping forms and shapes.
As in Roger’s works, matter reigns with generosity and vigor. It expands and envelops us, articulating narratives which seem to obey their own laws and logics, beyond us all, artist and beholders.
This being said, Lambert’s creative process is much more disciplined and slow than what may appear at first sight. It is nourished by an intensive practice of sketches and preliminary drawings, opening up to transformations, mutations and compositional expansions. It is as if the very hybridity and porosity of the characters and universes he creates were reflected in the very creative processes of his canvases.
Did you say at the antipode of one another ?Emmanuel Lambion
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