By Bruno Leloup, associate art professor
It’s impossible to only understand the "surface" of Serge Delaune’s work.
Of course the installation and assembly of parts immediately evokes a
practical use well known and before-seen in contemporary art to the
art lover. Approaches as unusual as the work of J. Beuys, J. Kounellis,
M. Merz or J. Fabre already put the foundations of the interrelation
between the found object, it’s form and history, the emotional strength
it carries and what the artist creates from all of it. Serge Delaune opens
many doors, and there’s two particular ideas we can study: Transparency
is everywhere, under different aspects. The wax, transparent and
intense, theradiography, obscure dark and revealing bright, the stems,
the spears, the paravents, the chairs, the interstitial spaces. They are a
metaphor for our difficult vision of the world.
The relationship between memory and time is also at the heart of
this artwork. Their individual perception, in the instant or in
longterm is highlighted. In the same artwork, the constituent elements
confronted to one another and yet pieced together to question our
vision of time. The instantaneous and the "point in time" operate with
the erosion and the patina. For example, a full body radiography
is shown sitting on a chair, wearing the traces of it’s past, the
seems cut off in different moments: the moment of the radiography, the
moment of the rest, the history of the piece of furniture, the medical
future of the patient, the actual presence of the artwork.
Serge Delaune pushes us, by his work, to an emotion essential: the observation of our temporal existence.