Renaud Perriches’s creative process explicitly refers to industrial production and the way it is perceived. Rivets, corrugated metal and corner irons are assembled with painstaking and immutable technical precision. Because the works are free from the tension variations and surface imperfections inherent to canvas and wood, they retain the traces of this initial distancing. At first glance, the artist’s use of metallic spray paint and surgically-cut adhesive stencils, as well as the sharpness of the typographic lettering and engraved symbols, may suggest a form of fascination for or adherence to standardised materialism. However, something insinuates itself into the works that contradicts and deconstructs this […]
Renaud Perriches’s creative process explicitly refers to industrial production and the way it is perceived. Rivets, corrugated metal and corner irons are assembled with painstaking and immutable technical precision. Because the works are free from the tension variations and surface imperfections inherent to canvas and wood, they retain the traces of this initial distancing. At first glance, the artist’s use of metallic spray paint and surgically-cut adhesive stencils, as well as the sharpness of the typographic lettering and engraved symbols, may suggest a form of fascination for or adherence to standardised materialism. However, something insinuates itself into the works that contradicts and deconstructs this order. The legibility of these archetypal figures of geometric painting is threatened by an underlying haze that detaches them from their apparent status as pure formal propositions. They function as symbols, echoing the inscriptions placed on either side of the works: terminology, symbolism and philosophical references hint at a darker dimension, a subconscious element in the works that undermines their strict materiality.
Jean-Pierre Le Bars, september 2019