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 are confronted to one another and yet pieced together to question our critical 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 time 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.