Thibault Duchesne

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On view : Spatiodermie, Feb. 21 - March 17 at Bubenberg Paris              On view : Spatiodermie, Feb. 21 - March 17 at Bubenberg Paris              On view : Spatiodermie, Feb. 21 - March 17 at Bubenberg Paris              On view : Spatiodermie, Feb. 21 - March 17 at Bubenberg Paris

Biography

Thibault Duchesne (b. 1992) is based in Paris, France.
Influenced by both biology and philosophy as well as architecture, Thibault works with various media and formats to create parallel sensory environments.

Thibault explores the relationship between the psyche and the physical environment. His current projects are all focused on the concept of nature: convinced of a total continuity between the mind and matter, he seeks to propose a way to glimpse another relation to the environment than the Cartesian conception of being human as master and possessor of nature.

Starting from nature in its territorial dimension, he creates liminal and imaginary landscapes that draw the observer into a state of contemplation and introspection.
Education

École Nationale Supérieure d’Art de Paris Cergy (ENSAPC)
2017 DNAP (National Diploma of Fine Arts)

École de Communication Visuelle de Paris (ECV)
2015 Master of Art in Graphic Design

New York Institute of Technology (NYIT)
2014 Bachelor of Art in Graphic Design
Shows

Spatiodermie solo show (Paris) — 2019
Morceaux Choisis (Paris) — 2018
Agapë II (Paris) — 2018
The Transitory Life of Water solo show (Paris) — 2018
Ciao! (Cologne) — 2018
Exposition de DNAP (Cergy) — 2017
| transient | solo show (Cologne) — 2017
The Principle of the Thing Show, the Shelf (Brooklyn) — 2014
NYIT Spring Group Show (NYC) — 2014
EXIT Festival MAC Créteil — 2013
Initiatique Collective Show (Paris) — 2013

L'espace adhère au temps

Carbon Copies

Transmission de surface

The Transitory Life of Water

Heal by Design

The Alps Series

Mineral Series

Drifter

Paintings

Drawings

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L'espace adhère au temps

2018

“l’Espace adhère au Temps” est une série de phonogrammes réalisée durant le mois d’août 2018 dans le cadre de la résidence artistique JOYA: AiR, au milieu du parc naturel de la Sierra Maria Los Velez, au sud de l’Espagne.

La production de ces œuvres prolonge une année de recherche pendant laquelle je me suis isolé afin d’apprendre le procédé de tirage photographique dit “au charbon” et ses alternatives non toxiques. Toujours considérée aujourd’hui comme le nec plus ultra, cette technique est une des plus stable dans la durée, car, ultimement vierge de tout résidu chimique, l’impression est simplement composée de gélatine pigmentée. Le choix de cette méthode reflétait mon désire d’explorer non seulement les questions de l’instant photographique mais aussi de sa cristallisation dans le temps. Ces expériences, soldées par des échecs, m’ont mené à opérer un virage radical dans ma pratique, me délestant de l’obsession technique afin de renouer avec une expression plus simple et libre.

Les photogrammes sont le résultat de l’unique vieillissement du papier exposé au soleil d’Almerìa. Des formes découpées y ont été superposées, afin qu’émergent de la surface plane du papier des compositions architecturales fantomatiques. Chaque jours se répétait le processus d’insolation. Tel un rituel, le papier lesté de pierres était laissé au milieu des amandiers. Les œuvres sont autant imprégnées de leur territoire de production qu’elles en sont génératrices, elles ouvrent des étendues virtuelles non définitoires qu’il incombe à l’observateur d’explorer mentalement. Le but de cette démarche est de créer un espace sensible à la réalisation de la pensée de Pierre Jourde, qui rappellait que « l’imaginaire se nourrit d’espace contre le temps et la déperdition de l’être […] »

“l’Espace adhère au Temps” est par nature une série fragile et vulnérable. Les œuvres n’existent que grâce à l’infime variation de la structure moléculaire du papier induit par les rayons du soleil et menacent en permanence de s’uniformiser. Cette inexorable vocation à disparaître m’échappe tragiquement et il en est aussi de la responsabilité du galeriste, du collectionneur et du simple observateur de les conserver.

Penser la dissipation de ces espaces permet de faire l’expérience mentale de l’exploration de territoires, qui ne sont plus constitués de données mesurables et matérielles, mais bien plus encore chargés de représentations et d’affect. Il faut ainsi repenser et nuancer la fascination que l’Homme a de tout temps exprimé pour la ruine ; elle n’est finalement peut-être que la manifestation romantique d’une angoisse de mort face aux artefacts qui nous survivent. À l’heure d’une société qui n’a de cesse de consacrer le matérialisme comme art de vivre et de penser, cette série propose d’esquisser une rencontre entre une pensée bouddhiste, marquée par le dépassement du corps et celle bachelardienne, qui évoque une rêverie “matérialisante”, portée par les éléments.

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Text written for Joya : AiR

"The doors of the 2000 Range Rover slammed.
All my senses needed to be readjusted as I stood in the sun - looking at that vast territory of silence.

Joya was built on an ancient farm, lost in the Sierra Maria-los Vélez. Yet, whatever the reasons were to settle in such a hostile territory, generations had inhabited and cultivated this land. In these isolated places, inhabitants have a unique relationship with time and history, often protected from the destructive, as well as regenerative, flow of modernity.

Territories, territories, territories; I became obsessed with the idea. I was exploring the land, experiencing it in all its physicality; and allowing the flow of the mental afterimages develop within me.

I wanted the project that I was going to work on to be linked intimately to the environment in which it would be created. Almeria is the only region in Western Europe considered as desert. In late August the whole landscape has been dried out under an unforgiving sun, and the presence of water is only revealed through the scars it has left in the land during the storms. The sun. Over a few days I laid papers, partially covering them with cardboard and stones. As an almost esoteric ritual, I removed shapes and stones carefully as the paper was being bleached.

I was interested in using one dimension to reveal a new one: the use of time in order to create space. Newly-opened territories emerged from the ghostly architectures that appeared on the surface. The paper returns to its primary organic nature, adopting the pigmentation of the landscape, inviting us to thread through a new space of rêverie."

(1)  L'espace adhere au temps ii , solar imprint on newsprint, 90 × 120 cm, 2018 - exhibition view, 2019
(2)  L'espace adhere au temps i , solar imprint on newsprint, 90 × 120 cm, 2018 - exhibition view, 2019
(3)  Untitled, digital image, 2018

Carbon Copies

2018

« L'âpre divinité de la roche sauvage » // Friedrich Nietzsche, penseur, naturaliste.

Voilà une phrase qui pourrait être empruntée à Nietzsche pour imager les travaux de Thibault sur cette série de dessins, échantillon d’un inventaire de matériaux personnels.

Le lieu est important dans les travaux de Thibault qui au fil de ses voyages collecte, réunit des pierres qui éveillent sa curiosité, ont une importance particulière à son regard, dans l’aspect ou l’histoire qu’il en fait, qu’il partage, qu’il transmet. La pierre présentée aujourd’hui, provient d’une petite île volcanique située au large des côtes marocaines, territoire désertique, zone aride, paysage d’un autre monde.

Le support utilisé, du papier carbone trouvé dans une cave, participe à l’histoire. La votre, celle de Thibault, la mienne, chacun pourra construire la sienne, sortir de son corps, laisser la place première à l’imaginaire et partir en ballade, une marche mentale le temps d’un instant.

En prenant bout à bout ces petites histoires de roche volcanique, de papier carbone, j’envisage une correspondance entre le carbone dont le corps humain est composé à 18% (en poids), et la terre composée de roches magmatiques telle la pierre de basalte. Et au delà observer un rapport entre l’organique et le minéral.

Emmanuel Tardieu (from Morceaux Choisis II)
(1)(2)(3)  Carbon Copies , graphit, black toner powder, fungi on found carbon paper, 29x34,5cm, 2018

Transmission de surface

2018
Exhibited in
Spatiodermie, solo show, 2019, Bubenberg France
(1)  Transmission de surface triptyque , Pigment print on Fujicolor Digital II Crystal Archive paper, artist made steel frame, 7 × 11 cm
(2)  Exhibition view, Spatiodermie, solo show, 2019, Bubenberg France
(3)  Transmission de surface i & iii , Pigment print on Fujicolor Digital II Crystal Archive paper, artist made steel frame, 7 × 11 cm

The Transitory Life of Water

2017

At the very beginning, there was a journey, a memory. Where an ancient lava flow meets the ocean, the basalt cloak gives up its earthly nature. Turned into a new liquid state, it surges into ephemeral landscapes of black, heavy and viscous water.

The Transitory Life of Water brings the viewer into a liminal space. Elusive postcard of the mind, the moving images and soundscape intersect into a vast untouched territory perpetually unfolding. Meeting his own images, the viewer is drawn into a pilgrimage at the edge of an imaginary world of ever changing landforms.

Filmed at the Piedra Morín on the volcanic island of Lanzarote, The Transitory Life of Water is a 6min-long audio-video work. Reflecting in the water, the projected image multiplies itself and offers new point of views to the observer. It becomes a possible gateway into this whirling world.

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Text extracted from the | transient | exhibition leaflet, written by the curator Alina Samsonija, translated from German.

"A black liquid is carving its way. Waves are collapsing into one another. Merging, foaming, hypnotising. It is rushing and is an invitation to the contemplative escape into one‘s own sensor y landscapes. The border between what is real and what is fictional is blur ring. It is deconstructing the duality of nature and culture that has been passed on for centuries and is offering an imaginary realm that seeks to combine the introspective psychological space with the physical world. Contextless, orientation-defying fragments of the allegedly natural are creating the transition to one‘s oneiric reality. Leading to a place of in-between, apart from the rational order. They are illustrating the thinking space as a three-dimensional sphere of the creative process, a mental stroll. That‘s The Transitory Life of Water.

In his installations, video work, soundscapes and photographs, Thibault Duchesne deals with our experience of nature and space as part of the experience of the self and the becoming of the subject. At the same time he explores the relation of man to nature in our age of the Anthropocene, in which geological traces have indelibly written themselves into the earth and must be dealt with and negotiated."

Exhibited in
| transient | solo show curated by Alina Samsonija at Brauchbarkeit Ausstellungsraum
Cologne, Germany, 2017

(1)(2)(3)    The Transitory Life of Water, | transient | solo show installation views, Brauchbarkeit Ausstellungsraum Cologne, Germany, 2017
(4)    Waves, Piedra Morin, Lanzarote, Spain, 35mm, 2016

Heal by Design

2017

The forest is probably the most efficient and stable system that exists. It is self-sufficient, resilient, productive, it provides habitat, reduce meteorological variation impact etc… It is a place to experience, to understand and to learn from.

Heal by Design is an ongoing series of interventions inspired by natural farming and permaculture methods. It aims to diagnose the soil quality state on a parcel of land and put in place strategies to restore it's fertility.

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The first intervention was carried out on the island of Oléron (France) on a private land located on a former sand dune. The observed soil was very poor due to the high ratio of sand and an existing underground limestone layer that prevents underground humidity from rising. Degrading organic materials were sourced from within a radius of 1km around the land (decomposed wood logs, branches, pine needles, leaves, compost, charcoal...) and buried on site following a layered pattern. Thus creating a carbon "sponge", it will allow beneficial bacterias, fungi and micro organisms to colonize this degrading matter and release nutrients back into the soil while capturing and holding moisture at the same time.

(1)  Forest in the valley of Glendalough, County Wicklow, Ireland, 35mm, 2016

The Alps Series

(1)(2)(3)(4)  Untitled, the Alps Series, 35mm photographs, 2017

Mineral Series

(1)  Untitled, Isla de Lanzarote - Spain, 2015
(2)  Untitled, Benagil - Portugal, 2015
(3)  Untitled, Benagil - Portugal, 2015
(4)  Untitled, Rocky Mountain National Park, Colorado - USA, 2014

Drifter

2014

Filmed in the freezing waters of December off an island in the french Atlantic, Drifter is a 4min-long video loop.

A lonely and mysterious piece of wood drifts through the waves. Coming toward and away from the camera, it seems to be stuck in an endless and repetitive motion. The sea and sky darken, where did it come from ?

(1)(2)(3)(4)   Still images from the video loop Drifter , 2014

Paintings

(1)   Untitled, Station Series, acrylic on paper, 2016
(2)   Untitled, Stone Series, acrylic on paper, 36×28cm, 2016
(3)   Untitled, Station Series, acrylic on paper, 2016

Drawings

(1)     Float, Ink on paper, photo sticker, wood and mortar, 100×70cm, 2014
(2)    Untitled, ink on paper, 14×22cm, 2015
(3)    Untitled, graphite on paper, 70×50cm, 2016
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Thibault Duchesne
Studio based in Paris, France
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