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Max Coulon, Sculpture of a Square I, 2024

at 0.8 KM

• bands
• exhibition
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Max Coulon's figurative sculptures draw from a repertoire of found objects, playful forms, and architectural conventions. His sampling techniques intersect with contradictory operations, repairing ruined objects and mishandling ornamental archetypes. He challenges both classical and modern architectonic models, reshaping them through intuitive gestures within and outside the academy. The canonic sculpture logics, which dictate balance, calibration, and symmetry, are destabilized to be more strongly highlighted. The artist casts a glance at the norms and ornamental characteristics of the neoclassical style, neo-gothic creatures, and grotesque fantasies. Their architects erected strong figures and powerful images to support edifices. Both in lineage and in reaction to this heritage, Max Coulon parodies these genres excelling in the art of citation. He treats motifs as inanimate bodies, stirring their substance. His objects, carved from mass, derive from atlantes and caryatids, returning to a primitive state of sculpture, a base relearning to sustain itself. The artist shapes youthful forms with sturdy materials like wood and concrete, being guided by their properties to eliminate technical constraints, thus giving them the body they sometimes already possess. Re-glued pieces and swollen joints give rise to numerous stigmata. By provoking their flaws, these aggregates of molded objects and sculpted raw materials account for a -nomy of materials. Their personalities incarnate in animal figures, bas-reliefs of seven dwarfs, or house models. Generating their own proportion, Max Coulon calls forth a reality at the scale of his anthropomorphic sculptures. This world of toys, parodying that of adults—from comical or morbid characters, including the CRS, the alcoholic, and the landlord—caricatures both their fictions and authority systems.

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