Karl Dupéré-Richer

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Karl Dupéré-Richer high-relief's shows a great potential of how turning boring objects to artistic pieces. However he goes fater than just presenting pieces the way he found it. Each part of the assemblage is justified by its shape and sugests a second level of reading. The garbage is not used for its symbolic value, it's not there as a critic of consommation, but only considered for its shape, its third dimensional caracter, its capacity to become a ressource for the elaboration of an art piece.

At the first look, there is this bunch of garbage that disapear and integrate themselve to form an image, a section of a face, a third dimensional drawing, that make remember the esthetic of graphic novel. The comic book style is not without a certains link with the previous work of the artist. In this first serie, he perfectly combines this style at the use technique and at the subject. With Spaghetti 1,2,3 it is easy to understand that it is a hommage to Sergio Leone and his film The Good, The Bad and The Ugly. Those three pieces reveal a plan on a big pair of eyes. The spectator surounded by those will probably feel the intensity of the western-spaghetti film genre. It is a brilliant junction between sculpture, comics books and cinema.

From closer, each elements composing the sculpture detaching and became reconizable. Like the impressionist, where the pigments distinct one frome each other, we recognize a light bulb, a hub cap and a shoes sole. The exercice is inevitable. These assemblages are homogeneous and heterogeneous at the same time. The color uniformise everything but the harmony is also maintain by the choice and the place that each object take on the sculpture. Here a interresting esthetic experience, you rarely heard yourself saying " here's a nice pile of garbage ! ".

Christian Seguin