Jean-Charles De Quillacq

born in Parthenay (FR), *1979, works in Zurich

Jean-Charles de Quillacq draws on his own experience of resemblances to develop the theme of adaptation in sculptural objectification. The baguette becomes a cigarette butt. The surface qualities of pipes mimic chocolate icing or bread crusts. The differences of one are thus reflected in the other: the real bread in the image of the surface of the crust and the image in its sculptural presence. De Quillacq’s exploration of the inherent meaning of formal expression leads him on to the question of how to place sculptures in space. Different plinth heights, horizontally displayed sculptures and varying scales involve viewers entering the space in an act of referencing – from appearance to actual presence to questions of identity.

Courtesy BAK, Guadalupe Ruiz 2017

17 holes in the wall (according to the instructions of Mathieu Mercier in Model for Hygiaphone, laminated instructions, signed and numbered, 1995), 2017. 17 holes, 16 cm diameter
Not the reproduction of something I experienced myself, 2011. Metal, PVC, laquered epoxy, polystyrene, 160 x 100 x 220 cm
Knife, 2017. Painted bread, tar bender, 5 x 8 x 30 cm each (6 elements)
Fork, 2017. Metal, epoxy, polystyrene, 115 x 116 x 292 cm
Getting a younger sister, thinking of myself, 2017. Metal, laquered epoxy, pillow, 16 x 538 x 104 cm