Elements, horizontal structure - 01 (extract)

Valérian Goalec uses existing forms in order to develop them, alter them, and take them elsewhere. Façades, architecture, windows or air vents become abstract sculptures, serial modulations and variations, models or paintings, modules or units of measure and of comparison.
The elements may be apprehended both as autonomous entities and as a coherent, solid whole, yet they remain possibly interchangeable, simultaneously interdependent and separate.
Valérian Goalec draws a pre-existing form from its context, appropriating, developing and multiplying it in order to obtain a new coherent form, devoid of its primary material qualities but gaining a host of other characteristics.
His formal units function as unit of measures and of reflection, and as modules for aesthetic research.

Text : Béatrice Lortet

One to nine

Solo show at Stems Gallery
68, rue de la Concorde
1050 Brussels

11.09.2015 - 24.10.2015

One to Nine features two series of objects functioning in pairs. The exhibition title provides a clue regarding the way the pieces are to be read, while remaining open to their myriad possible variations.

In arithmetic, the numerals from 1 to 9 are described as units; they are digits from which numbers derive. The title is therefore not so much a qualitative description of paintings and objects as an invitation to reflect on the inexhaustible potential of one device or the other, the infinite character of the possible propositions. Unity allows one to perceive and imagine multiplicity.
Peinture aléatoire N°23 is a series of paintings joining dots numbered from 1 to 9 on the canvas grid. While some of the lines are contained in segments, others move out of the surface, extending off of it. The grid is not quite limited to its representational surface, but extends to the space itself (the studio, the gallery, the world), as a materialisation of the planes and perimetres in which one may act.
The viewer is presented with the result of a pre-determined process. The unfinished exhaustion of the forms and of their variations is linked to the process-based nature of the work. The paintings are “random,” yet the implementation of specific construction tools and of an extremely precise production apparatus produces a randomness with an extremely determined form. This series appears as a study in variations subjected to strict constraints. The intention resides therefore in the implemented system.
Image production thus derives from the creation of the tool; the creation of a volume (a tool-object) allows the production of the paintings. The empty sculptures conversely show an image through the crystallising of a container without content. While the lines in Peinture aléatoire offer a spatial reflection, the sculptures in Vide provide a spatial representation.
One to Nine associates randomness and determination, arbitrariness and intention, image and object, fullness and emptiness, yet without opposing each aspect of the same piece against the other. Each object thus contains its own paradoxes; each piece simultaneously proposes its own limits and possibilities.

Text : Béatrice Lortet