Antoine Donzeaud, Ce qui emporte la décision

Ce qui emporte la décision, 2022
Ceysson & Bénétière, Paris

Antoine Donzeaud, Du coeur de ma maison, 2022
Acrylic and spray paint on PVC, aluminium, stainless steel, carpet
280 x 120 x 120 cm
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Antoine Donzeaud, losing interest (au fond de moi au coeur), 2022
Oil on wood
19 x 24 cm
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'Ce qui emporte la décision' opens an inter-generational dialogue around the notions of gesture and creative decision by confronting the work of Patrick Saytour, a founding figure of Supports/Surfaces, with a younger generation of international artists: Aline Bouvy, Antoine Donzeaud, Chelsea Culprit, Yves Scherer, and Julie Villard & Simon Brossard.

The works of the artist we have chosen speak of the heterogeneity of his procedures. They take a step aside from the serial approach of his work, and thus from certain canonical readings of the Supports/Surfaces movement: straps, wrapped textiles, clothing that defy the boundary between utility and decorative, in which figurative objects, pre-formed printed motifs, compositions of colorful textiles are embedded, exploring the relationship between representation and model.

"What matters is what carries the decision," says Patrick Saytour. In his work, gesture as a pure means is applied to a deconstruction of painting as an object and device, and as a place where the purpose (of painting) is commonly regulated. Here, the gesture of reprisal dominates. To reprise, as one would mend a tear with sewing. To reprise as one inscribes oneself in a "recommenced." His works resist through humor, but above all through the witticism against the "fixed" character of representation. The protocol with him "carries the decision."

The works of Aline Bouvy, Antoine Donzeaud, Chelsea Culprit, Yves Scherer, and Julie Villard & Simon Brossard coexist here and open Saytour's pieces to other readings: to insert into the "already" represented, to mark/metamorphose, to question the points of resistance to hyper-formalism and the premeditation of our daily spaces that determine both the form of our inner worlds and our gestures and body techniques. The protocol still "carries the decision."

And it is perhaps through this last symbolic entity precisely, the body, that Saytour's pieces enter into the most dialogue with those of other artists. The body as a attenuated model of representation or a fallen envelope of devices that assimilate means to ends, a fluid residue, left to an ironic wandering.

– Clara GUislain & Elisa Rigoulet