Mark Brusse Assembly and Collages (1976-2006)

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days.

From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and… From January 25, 2007, the gallery presents an exposure dedicated to Mark Brusse, joining together assemblies and joinings of 1976 to our days. This work - nourished voyages and meetings, serenity impresses, often tinted humour - testifies to a vision of the readily poetic world. Its step is with the variation and the distance which it grants saves it because it preserves it. Offering, sacrifice, dumb conversation, quiet monologue… it is here a question of presence and interior. Philippe Piguet in catalogue Answer in question, 1992. Sculpture-assembly: Since 1961, installed definitively in Paris, Mark Brusse conceives the series of the Fences, Soft Machines and Strange Fruits, assemblies of objects out of wooden of recovery and various metals found in the street, which tell the history of elements met by chance and gathered according to the imagination of the artist to live a new life together. At that time, it attends the New Realistic ones joined together around Pierre Restany like his friends Robert Filliou and Daniel Spoerri. 1965, two years stay in New York where, influenced by the minimalist spirit of the moment, his work takes a new dimension. The purification of the forms and the colors are necessary to the evolution of its language (series Natural Wood and Floor Pieces, geometrical parts out of wooden paints or not). It joins again with the Fluxus group known for its attachment with the character event-driven and transitory of work, which leads Brusse to take part in several happenings and especially to collaborate with the musician John Cage. These artistic experiments give him the taste of the “Environment”, i.e. installations adapted to space given, (Occupation of Space, volumes out of wooden which entirely fill the interior of the rooms, thus blocking the access, Kunsthalle of Bern in 1968). After a stay in Berlin at the beginning of the Seventies, Mark Brusse returns to Paris and settles with the Hive. It creates assemblies, small or large, some on base, others suspended, consisted of the most various materials: filament, node, cord which is used as discussion thread, one could almost speak about umbilical cord. However, one finds there especially wood. The selected titles are often poetic, mysterious, sometimes ironic. It is at that time that the Dutch shoe appears in its work (Puget Sound, 1976; Knot-Thing, 1987; I cuts has nail in my Shoe, 1976). Artist pérégrin, Mark Brusse traverses the animated world of an insatiable curiosity. The sculptures carried out these ten last years are impressed of this itinérance. They make a synthesis of all that the artist met on his road during previous years. Out of wood whitewashed gross of pure white, often of large size, they make a reflexion on the world and the life seen by the artist: the time which passes that it tries to retain, the rustle of the flight of the butterfly which it solidifies forever or the white feather of which it monopolizes lightness in the transparency of glass (The White Moment, 2001; The Shape of Silence, 2003). Joining: Although joining has played an important part in its work for several years, it is during a stay in Japan in 1983, that he knows his full blooming. According to the principle of recovery which it adopted as of its arrival in Paris, Mark Brusse seeks the elements of its joinings in the street. It ensures besides: I found them in the street, I found what at the bottom existed already in me. Its interest goes on bits of paper with Japanese writings which it sometimes associates objects, vestimentary elements, in particular of the gloves. The compositions are sober; they carry the mark of the tradition Zen because Asian civilization strongly influences work.