COMPLETE ARTISTIC FILE
Since 1987, Sébastien Layral D'Alessandro has been developing a body of work that combines figurative painting, participatory performance and installations.
His work is part of a critical perspective: testing our contemporary values - freedom, desire, justice, ecology, spectacularity - by confronting them with plastic forms that engage both body and thought.
At the heart of this approach lies a Camusian question: how can we make the absurd habitable?
The artist summons both the myth of Sisyphus and the practice of Aikido, in order to transform confrontation into cooperation, and to shift the conflict towards a common energy.
His works, whether in the form of painted portraits, collectively altered canvases, performed rituals or participatory devices, constitute all grounds for democratic experimentation.
The spectator is not a simple witness: he is an actor, responsible, sometimes even a body engaged in the work.
By exploring the existential questions of our absurd condition and by confronting points of view, Layral D'Alessandro constructs a work that seeks to harmonize individual freedoms to open a collective consciousness.
Since 1987, Sébastien Layral D'Alessandro has been developing a body of work that combines figurative painting, participatory performance and installations.
His work is part of a critical perspective: testing our contemporary values - freedom, desire, justice, ecology, spectacularity - by confronting them with plastic forms that engage both body and thought.
At the heart of this approach lies a Camusian question: how can we make the absurd habitable?
The artist summons both the myth of Sisyphus and the practice of Aikido, in order to transform confrontation into cooperation, and to shift the conflict towards a common energy.
His works, whether in the form of painted portraits, collectively altered canvases, performed rituals or participatory devices, constitute all grounds for democratic experimentation.
The spectator is not a simple witness: he is an actor, responsible, sometimes even a body engaged in the work.
By exploring the existential questions of our absurd condition and by confronting points of view, Layral D'Alessandro constructs a work that seeks to harmonize individual freedoms to open a collective consciousness.
“Entretien avec le directeur du Musée Labenche (45 min)”
Éclairage sur le travail et l’exposition réalisée à la Chapelle Saint Libéral, exprimé par un regard curatoriel.
Since 1987, Sébastien Layral D'Alessandro has been developing a body of work that combines figurative painting, participatory performance and installations.
His work is part of a critical perspective: testing our contemporary values - freedom, desire, justice, ecology, spectacularity - by confronting them with plastic forms that engage both body and thought.
At the heart of this approach lies a Camusian question: how can we make the absurd habitable?
The artist summons both the myth of Sisyphus and the practice of Aikido, in order to transform confrontation into cooperation, and to shift the conflict towards a common energy.
His works, whether in the form of painted portraits, collectively altered canvases, performed rituals or participatory devices, constitute all grounds for democratic experimentation.
The spectator is not a simple witness: he is an actor, responsible, sometimes even a body engaged in the work.
By exploring the existential questions of our absurd condition and by confronting points of view, Layral D'Alessandro constructs a work that seeks to harmonize individual freedoms to open a collective consciousness.
"Rewriting The Myth of Sisyphus on 12,000 painted Post-It notes, where each autonomous and unfinished canvas replays the Camusian absurd: creating endlessly knowing that accomplishment will remain impossible."
Painting Albert Camus's The Myth of Sisyphus from sticky notes. Rewriting the essay on the absurd in the form of Post-It notes, like so many tasks to be accomplished. Each crumpled fragment becomes a sign of forgetfulness and self-denial.
Each reminder corresponds to a painting. Approximately 12,000 canvases were completed, representing nearly a century of work. The entire work can never be completed: the very creation of the work thus replays the condition of Sisyphus.
Each painting, autonomous and incomplete, contains within itself the entire book, amputated of its words. The entire series becomes a mise en abyme: the artistic life devoted to it illustrates the Camusian absurd, endlessly repeating the act of creating, knowing that accomplishment will remain elusive.
"Rewriting The Myth of Sisyphus on 12,000 painted Post-It notes, where each autonomous and unfinished canvas replays the Camusian absurd: creating endlessly knowing that accomplishment will remain impossible."
Painting Albert Camus's The Myth of Sisyphus from sticky notes. Rewriting the essay on the absurd in the form of Post-It notes, like so many tasks to be accomplished. Each crumpled fragment becomes a sign of forgetfulness and self-denial.
Each reminder corresponds to a painting. Approximately 12,000 canvases were completed, representing nearly a century of work. The entire work can never be completed: the very creation of the work thus replays the condition of Sisyphus.
Each painting, autonomous and incomplete, contains within itself the entire book, amputated of its words. The entire series becomes a mise en abyme: the artistic life devoted to it illustrates the Camusian absurd, endlessly repeating the act of creating, knowing that accomplishment will remain elusive.
"Rewriting The Myth of Sisyphus on 12,000 painted Post-It notes, where each autonomous and unfinished canvas replays the Camusian absurd: creating endlessly knowing that accomplishment will remain impossible."
Painting Albert Camus's The Myth of Sisyphus from sticky notes. Rewriting the essay on the absurd in the form of Post-It notes, like so many tasks to be accomplished. Each crumpled fragment becomes a sign of forgetfulness and self-denial.
Each reminder corresponds to a painting. Approximately 12,000 canvases were completed, representing nearly a century of work. The entire work can never be completed: the very creation of the work thus replays the condition of Sisyphus.
Each painting, autonomous and incomplete, contains within itself the entire book, amputated of its words. The entire series becomes a mise en abyme: the artistic life devoted to it illustrates the Camusian absurd, endlessly repeating the act of creating, knowing that accomplishment will remain elusive.