Assemblée
Xavier Veilhan
Sep 12, 2024 – Oct 30, 2024
Cheongdam Space
Xavier Veilhan – Installtion view of Assemblée
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
313아트프로젝트에서 열리는 3번째 개인전에서 자비에 베이앙은 디지털 3D 스캔을 활용한 작업을 이어가며 조각의 역사를 현대적으로 재해석한다. 다양한 표현, 목재의 종류, 크기를 통해 우리는 이 실루엣의 존재에 동화되며, 그 안에서 사라져가는 인간 형상을 인식하게 된다.
이 전시는 우리를 형상들 사이의 상호 작용의 중심에 배치한다. 9~17cm 크기의 스무 개 정도의 조각품이 군중을 형성하며, 실물 크기의 흉상 두 개가 땅에서 솟아올라 대화를 나누는 듯한 느낌을 준다. 자비에 작업의 핵심인 단순화된 형태로 구현된 참나무 흉상의 단면들은 유기체에 기하적 요소를 도입한다. 크기를 다양화하면서 나무라는 살아 있는 재료는 일정 수준의 세세함에 묶이지 않고 형태 자체에 영향을 미친다.
디지털 처리된 조각품의 형태가 과하게 규정되고 불명확하게 표현됨으로써 순간적인 시각으로 형상을 정지시킨다. 가장 선명한 상태에서부터 가장 흐릿한 상태에 이르기까지, 중간 정도의 선명도를 거쳐서 작은 조각상들은 실루엣에 따라 그은 자국을 남기며 역동성, 방향성, 그리고 줄무늬를 드러낸다. 에보니, 코코볼로, 참나무, 세쿼이아, 너도밤나무 등 다양한 목재와 가공 기법은 각 실루엣에 독특한 거침 혹은 정교함을 부여한다. 그리고 이 모든 형상들은 공존하며 시선의 방향에 따라 그들이 지닌 리얼리즘이 드러난다.
레미 자우그가 기획한 회고전 ‘자코메티, 유채와 메인'(파리 현대미술관, 1991)과 그의 전시 ‘볼륨으로서의 사람들'(안드레헨-쉬프젠코, 스톡홀름, 2005)사이 어딘가에서 자비에 베이앙은 고전 회화와 조각에서 이미 익숙했던 형식에 재주목하여 일정한 거리에서 볼 수 있는 세계를 묘사한다.
For his new exhibition at the 313 Art Project gallery in Seoul, Xavier Veilhan continues his work using digital 3D-scans and explores a contemporary take on the history of sculpture. The multiple representations, wood types and scales invite us to assimilate the presence of these silhouettes, in which we recognize evanescent human figures.
This exhibition places us at the center of the interaction between the figures: the twenty or so sculptures, ranging in size from 9 to 17 cm, form a crowd, and the two scale-one busts seem to emerge from the ground to engage in dialogue.
The facets of the oak busts, a simplification of form at the heart of Xavier Veilhan’s work, introduce geometry into the organic. By playing with the scale, the living material of wood cannot be constrained to certain levels of detail and acts on the form.
By turns over-defined and indefinite, the digital treatment of the sculptures freezes the figures in a fleeting vision. Ranging from the sharpest to the blurriest, passing through states of intermediate sharpness, the small sculptures bear the trace of the tool that marks the silhouettes with its furrow, revealing dynamics, directions and striations. The different woods (ebony, cocobolo, oak, basswood, sequoia, and beech) and machining techniques give each silhouette a singular degree of brutality or finesse. And yet, all these figures coexist, allowing the realism they contain to shine through, depending on the orientation of the gaze.
Somewhere between a homage to the retrospective Giacometti, l’œil et la main orchestrated by Remy Zaugg (Musée d’Art Moderne de Paris, 1991) and his exhibition People as volume (Andréhn-Schiptjenko, Stockholm, 2005), Xavier Veilhan reinvests, as often in his work, forms already used in classical painting and sculpture, illustrating a world that is held at a distance in order to be visible.
Xavier Veilhan – Installtion view of Assemblée
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Pour sa nouvelle exposition à la galerie 313 Art Project à Séoul, Xavier Veilhan poursuit son travail en utilisant des scans numériques et explore une façon contemporaine de l’histoire de la sculpture. Les pluralités de représentations, d’essences de bois et d’échelles nous invitent à assimiler la présence de ces silhouettes dans lesquelles on reconnait des figures humaines comme évanescentes.
Cette exposition nous place au centre des interactions entre les figures : la vingtaine de sculptures mesurant entre 9 et 17 cm compose une foule et les deux bustes échelle 1 semblent émerger du sol pour dialoguer. Les facettes des bustes en chêne, mode de simplification des formes au cœur du travail de Xavier Veilhan, introduisent une géométrie au cœur de l’organique. En jouant avec l’échelle, la matière vivante du bois ne peut se contraindre à certains niveaux de détails et agit sur la forme.
Tour à tour surdéfini et indéfini, le traitement numérique des sculptures fige les figures dans une vision fugace. Allant du plus net au plus flou, en passant par des états de netteté intermédiaire, les petites sculptures portent la trace de l’outil qui marque de son sillon les silhouettes et fait apparaître des dynamiques, des directions, des stries. Les différents bois (ébène, cocobolo, chêne, tilleul, séquoia, hêtre) et les diverses techniques d’usinage donnent à chaque silhouette un degré singulier de brutalité ou de finesse. Pourtant, toutes ces figures cohabitent et laissent la part de réalisme qu’elles contiennent rejaillir en fonction de l’orientation du regard.
Quelque part entre un hommage à la rétrospective Giacometti, l’œil et la main orchestrée par Remy Zaugg (Musée d’Art Moderne de Paris, 1991) et son exposition People as volume (Andréhn-Schiptjenko, Stockholm, 2005), Xavier Veilhan réinvestit, comme souvent dans son travail, des formes déjà utilisées dans la peinture et la sculpture classiques et qui illustrent un monde qui est tenu à distance pour être visible.
Xavier Veilhan – Stephen, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Bonaventure n°1, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – David n°1, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Constance n°4, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Philippe Zdar n°1, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Philippe Zdar n°1, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Antoine, 2024
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Philippe Zdar n°1, 2023
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
Xavier Veilhan – Swizz Beatz n°1, 2023
Photo © Émilie Mathé Nicolas / ADAGP, Paris, 2024
© Veilhan / ADAGP, Paris, 2024, Courtesy of 313 Art Project
