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From childhood?

A trip in childhood could be the first impression that comes from the work of Olivier Grossetête. This is also where everyone agrees that it often. A first of unanimity in some ways. You will see ... in fact, you'll see the smiles on the lips form at the discretion of the works. You may feel the impression of nonchalance, a joke, a joke before this suspension bridge, cut in front of this town or these enlightened butterflies. Just maybe you'll aback by the polymorphic nature of this work. Nothing puts in the way of an apparent link between all these works. A big kid when this artist? A kid, work disjointed as can be that of a little blond head from one thing to another without for the adult who attends the scene there is continuity. If this is your impression is that you are only the first page of the journey proposed by this artist.


The second may be the conscience of the link in this work, which appears in the conscience barge. Obvious moves. The evidence that this is the game that is law here. This artist is actually not a big kid, he is a player. he plays. He plays with words, he plays with shapes, with volumes and materials, he cut and cut, fold, glue, shape, form and deform, appoints and denominates, pluck, assembles and composes. The reconstitution of movie scenes with a paper boat is exemplary of these games. The game is the main idea, the axis, the concept could be if there was concept in the work of Olivier Grossetête. But no concept here ... the concept is only a means to simply enter a float too complex. However, in this work the real need not be entered. The actual remains complex here. It is not simplified. It is "just" put in another form. From a joker playing nimbly with reality then it would?

In a joke then?

Maybe, maybe if you do indeed perceive that the word games. A chicken cutaway contraventions of work put on paper, leaves almond fines or a moon that can help to lift. A prankster? Perhaps, if they are group games that challenge you, as these monumental constructions of "situationist moment" when playing these dozens of people raising a cardboard building. A prankster? Perhaps, if the weight seems to be avoided and as erased by a balloon, a suspension bridge or a person sitting ... in the air. Finally, a joker in no doubt, if the act of creation has to be a test, if suffering must accompany the artist or the work of maker must be a skinned. For here the artist's image to open with us the world is scanned; no spleen Baudelaire, no heartbreak, no delivery ... no printing of those moments that can encode creation and falsely suggest that an artist must suffer. That may be where we think of a joke. But be careful do not stop at this point for hollow. Or stop it really.

A moment we take?

If time is not counted you that day, if you leave it to flow to reach almost to boredom, then you'll see another page appear. And perhaps it is only in the beginning of boredom that is the part of childhood that were thought to grasp at first. This is our another step. This is our world, it is now question. There would be no denying that it is our own childhood finding a place here; a childhood from the flat of our memories the forms given by this artist. But it would not be quite fair. It is more of a look, the same mockery, a mockery of the great world, a mockery of the adult world, a mockery of our world. With a look on our world! This could be a look at the absurdity of the world we forced Olivier. Indeed, are you sure you know what work against these six thousand handwritten sheets on which is precisely says "it's work"? Is the game a job or work a game? What about this balloon made of these letters from various authorities? An artist's whim? Or symbol of authority that flies? What about the suspension bridge that connects not nothing? Is it just a bridge? Or image of the uselessness of complex objects surrounding us? What about this picture of a Naples amputated private gardens? Deprived of high gardens? The representation of a perforated town or symbol of a common nature dispossessed? Finally it skinned chicken? A simple word game or a bad development authority?


On a funny game or a game of role?

The journey which we are invited here is comparable to the mo (nu) ments "situationists" proposed by Olivier Grossetête. The construction of these buildings cardboard is first a joke to which children and adults participate with the same enthusiasm. An adventure "to fake" the first page starts with these piles of cardboard that some are quick to get in shape while others take time to tame. Then comes the stage of assembly of the elements, a kind of collective game orchestrated by the artist; RPG where it is not unusual to see the Caesars, or a few of Ramses Néfertitis. Once the tallest building is the lull. The onlooker stopped by the barge, sometimes in the shadow of this new monument near which some arise, sit, watch and dream. Most patients will see the last page. That of the end of history. One where a building before falters fall in a moment of explosion to which all contribute. And finally, those cartons shaped, that become heaps, almost ashes.

A game? Childishness? Or a reappropriation of the world? A bridge (a bridge perhaps?) Between dream and reality, a way to make everyone a part of what he built, what it is. And this share does not a particular sense when we know that each building is an important monument of the city in which the performance takes place? This feeling that one experiences at the beginning of the trip is undoubtedly that of this lost aviator meeting the little prince. The impression of not knowing which of the two children and if it's Olivier or to us to the task of drawing animals.