Tristan Dassonville



 






Emptiness in full


The void, unnatural by excellence, sets itself as an ideal of liberty. It is a model without constraint or predetermination, it is a tabula rasa allowing to raise up from this here below.

At first, trivial objects, anecdotal, almost calm.

Just like - digging matter, extracting, adding, removing, supplying, blowing, then moving in the opposite direction. Tristan Dassonville monopolises, seizes and contains the space to do something else, barely visible, since filling or removing ends up being the same - emptiness, always victorious. Absence charged around a void and that perseveres to translate into anguish, terrible desire or horror vacuí.

Because this concern informs us the artist is "irrelevant" and quite "paradoxical", it cancels the own artwork forces.
Ornaments, decorative objects, ceramics, photographs, furniture or installations, the heterogeneity closely follows the quest of Tristan Dassonville in his vain attempts to fill this gap - or rather to say the whole. Because once the technique dug (faience, sandstone, plaster, Jouy fabric), the pattern exhausted, one will invent matter.

Through this inscription in the tradition and the naturalism, to name it, the control and the copy of the forms, the symbol brings us back to a buried archaism. The objects are looking for themselves (implementation). No symmetry in place, although it formally appears in his artwork, but rather stories of symmetry, complicities at stake in short. "Trying to keep them together a the crossroad of things," he says. A practice of "real DIY" mixed with a mental projection. "As you move forward in your work, you get convinced of your own fictions". As writing is close according to him of the work in the workshop. To accept habitus and repetition, the ornament or the subject for what it has, of irreducible.

The symbolic combinations, like the still life that inspires it, do not allow ourselves to establish one axis rather than another. The motive enunciates, takes position to better slip into the immobilism of its function. Here, snakes in "Alliterations in S: - “le Cabinet" does not move more than the substantive image of a cabinet and the concrete windows pretend to be unscathed (Model for a broken window theory), with reference to still life of the painter Sébastien Stoskopff. And yet, everything moves slightly. The question of functionality as well as that of reproduction remains suspended. They are alibis to justify their presence in those places. The trouble only comes after or in the whole. The "false appearances" are reversed. As proof, the clue, the Appellants, black animals with a clever mind in flocked plastic are as much trapped, gathered loose in this light suspension.
An apparent tranquility and normality that do not deceive the eye. Tristan Dassonville searches without finding. It is in the way that lies the substance of his practice: a substantial nothing, an idle whole.
A hermeneutics at work.