For several years now, Hervé Le Nost has been raising the question of the challenges of sculpture, in his work. How is it to be questioned, conceived, and produced? This involves, on his part, a line of thinking about style, its avoidance, scale, space, colour, and technology, a plastic narrative which encompasses intentions and sources. The thinking is moveable, it finds its vectors through statuary, installation, drawing, photography, digitization, video, and ceramics, with a necessity of relevance. “It is not surprising that Hervé Le Nost gets images to talk. The result of this is an interplay of thoughts, the experience of a playground made up of visual assemblages: riddles where photographic images […]
For several years now, Hervé Le Nost has been raising the question of the challenges of sculpture, in his work. How is it to be questioned, conceived, and produced? This involves, on his part, a line of thinking about style, its avoidance, scale, space, colour, and technology, a plastic narrative which encompasses intentions and sources. The thinking is moveable, it finds its vectors through statuary, installation, drawing, photography, digitization, video, and ceramics, with a necessity of relevance.
“It is not surprising that Hervé Le Nost gets images to talk. The result of this is an interplay of thoughts, the experience of a playground made up of visual assemblages: riddles where photographic images replace letters and words. The visual subjects assume humour, the farfetched, and the absurd. “We were playing with images and there were no losers” said Paul Eluard on the subject of Surrealist games.”
From the catalogue “Faîtes vos jeux”, essay by Dominique Marchès, 2014