Antonin Giroud-Delorme revels in optics, yet shuns the superficial. He is a vessel, offering combustions of invented icons, exquisite emblems. One is challenged with new languages via frustrated aggregations. The Natural translates the synthetic, and vice versa. In “Eupepsia” Giroud-Delorme’s transmutations proliferate throughout the space, inviting poesis and imaginal play. His constructions are atemporal, suspended in perturbations, riddled with obfuscations. What is moving here is the utter lack of movement. The viewer lies in wait, per the artist’s instructions. One plants his feet squarely and denies inertia, leaving the body to do work while mired in liminality.

Perhaps less about direct ingression, more about expansiveness.

        A new baroque, rhizomatizing experience, connection, aesthetic, ethics.

Shattering a “harmonious, homogenous, and thoroughly knowable”1 Nature in favor of infinitudes.

        Dreams of discovery and innovation are not resigned to modernist thought, there is a fissure in the cynic’s logic.

Screen, image, interface, and the results of iconoclasm.

        Behold Giroud-Delorme’s open cosmologies.

Giroud-Delorme’s work gestures towards processes of amalgamation and a series of disturbances. With unexpected assemblages and spatial configurations, the sculptures seep and expand into broad horizons. The artist revels in new topologies via interfaces between unlike materials such as Burgundy red wine and cornstarch, mechanical clock fragments and natural hemp. The results are beautiful, if not a little grotesque- with distinct parts serving as means to ends. Here the viewer is left to his own devices, brushing up against themes of domesticity, spatial mapping, bodily mutations, politics, and intimacy.

Through careful deconstruction and recombination, he is reaching towards some essential spirit.

 Reilly Davidson

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