Joel Besse is an artist of folds and pleats and complex geometric; It glue strips or small square of paper color. He was born in the work of gluing and folding of strange objects that could be attributed to sculptures. But Joel Besse were "modules" of the simple elements that make up the table with identical elements.
In the beginning, Joel Besse, there are these folds and pleats, often complex and almost always geometric animating small strips or squares of paper as to arouse themselves. The colour, posed as the case before or after folding, is involved in the adventure. Naissent so, this soft and yet so rebellious to the touch of the artist, strange objects. It could be seen as models for miniature sculptures, but for Joel Besse these are only "modules", the components are simple he needs to build his table and that he must first produce the same and mass production.
That is to say that the repetition of the same gesture and plastic patterns is the principle of the artist's work and brings the senses. It is not a process here shop, much less a sign of abandonment to an aesthetic in fashion. It serves a purpose in what Kandinsky called "inner necessity". This module, among others invented then rejected, will be repeated because a secret shake sensitivity will be warned about the artist and the impossibility of finding this module equate. The approach is based on the idea that only what felt to be unique and must be legitimately necessarily doomed to repeat. That is what has always shown great lyric poetry for which each term irreplaceable can only be repeated. Joel Besse is part of this tradition which makes the heart organ lovers of repetition. It is a lyrical visual and tactile. The module, which was selected derives its uniqueness inéchangeable unspeakable emotions which, born of a glimpse to know for a moment, were housed in perpetuity in the palm of his tricks. It is understood that the artist may want to replicate that this module in series. The first time was not enough. In the presence of this form winged while still a simmering lived that can be compared to anything, repetition is the only response can be maintained in this singular lived in his pen symbol. But in doing so it does not merely add a second and third time, not the first. It raises the first module of the series to the "nth" power, giving him and his inscrutable content, the aura of the sacred. In this respect, the repetition reverses. It is no longer simple summation. It becomes update sent late in the series (at least in theory) that has inexhaustible potential initial modulus. It is the one here now, which repeats in advance all those who will follow. It is thus fully in the order of the religious commemoration, where it is not the rituals that repeat the event founder, but the latter, which from the outset, repeat.
Also as a rite ever again, the modules deployed in long series in the fall workshop will they, with the truth that burns in them, a time motionless, and the origin of the eternal return on it own. L artist knows, who often comes to talk of a repetition as a moment of eternity where the mind can finally go in possession of himself.
But it is the picture that repeated itself truly body. The modules will find their destination. They are juxtaposed so as to fully cover the supporting surface. The choice of format neutral particularly as the square, said at the outset that the scope of the duplication could, notwithstanding the physical limits of the framework, extended to infinity. Now, under the eye, all modules exist outside of any requirement of succession in time, and according to which one would enjoy the position of the other model and the likeness of copies. All have become contemporary each other. Repetition is indeed here a moment of eternity. But it might also lose its purpose and deny itself in a repetitive and sterile assertion of a being in itself that would be in this case as to a Non-being. Table lacking that the absolute identity, would meanwhile, denied any tension.
Hence the need for repetition is possible to introduce it as a difference. Joel Besse is aware of this. The modules have a force capable plastic to create and maintain disorder, or better, the difference that although contrary to repeat is its vitality. First is the natural instability of the materials they are made of. It communicates to their folds, yet inhabited by the same thought, this vibration sensitive is inherent individuality. But there are also common configuration of the modules themselves, which is, paradoxically, a source of diversity. It imposes indeed to the artist logic combinations at the position of first modules on the plan, which has the effect of introducing these differences in order topology. Thus emerging before our eyes structures which, if they are to be repeated, however, give an impression of life abundant. Everything seems to become rhythms, one nested within the other, referring to the subtle games with a minimalist music.
The color is involved in this dialectic of repetition and difference to exalt lyricism. She cherishes all the tricks, but only in their most places available at the sight, as if it were necessary to preserve their share of shade and privacy, may be to make it contracted by more fascinating. In this sense, the color is the repetition. But it also opens the territory to be different, because it modulates the infinite perspective which we can enjoy on the folds of their multiple depths.
In the rustling who travelled countless tables of Joel Besse, mean, how basso continuo, the groaning alternative to the sea ever again.
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