Maurice Blaussyld works at the intersection of form and philosophy where he encounters that which exists and persists beyond Art and everyday perception. His material, which may appear similar to painting or writing, to installation or photography, video or sound, surges forth as an interrogation of the world of humanity and of death. The work appears as much as it disappears in a single moment, created neither by concept or practice. Here, there is no Art and no artwork, and neither is there object. That which allows itself to be exists outside of time while being resolutely anchored within it, out of sheer necessity to recreate and to regenerate. In flux, uniting the invisible and inaudible, apparition and disappearance, without beginning, it is essential, irreducible, and indefinible: it is time.
For prologue, Maurice Blaussyld sees a formal ensemble through which sound, voice, and light allow their presence to be felt as much as darkness and silence, by a single almost imperceptible variation of a degree. Further to this, communication is non-communication, and appearance and disappearance are one and the same. The activation, or not, of technology means that we are in fact neither spectator nor activator of anything: there is only the encounter of solitude. That which appears as text, which Blaussyld names “typescript”, is merged and confused with what seemingly accompanies it. Here, all is word without being spoken and without creating silence. A sign – open, unknown, and inaccessible. This word is also something entirely different, as a poetic analysis or form or verbal trance it unfolds the consciousness that links being to the world. The typescript confronts us with the contemplation of existence, which itself lives a double life, one independent of our readership and as a result of it.
Maurice Blaussyld’s work has been presented in multiple solo exhibitions in France and abroad including at the Fondation Ricard, Paris (2017); Tale of a Tub, Rotterdam (2014); Galerie Allen, Paris (2014); and LLS 387, Antwerp (2013). He also shown in major group exhibitions including most recently Palais de Tokyo, Paris (2019); MAC’s, Grand Hornu (2019); FRAC – Fonds régional d’art contemporain Île-de-France Le Plateau, Paris (2016); and Biennale d’Art Contemporain, Les Ateliers de Rennes (2016). His works have been acquired among others by FRAC – Fonds régional d’art contemporain Bretagne, FRAC – Fonds régional d’art contemporain Île-de-France; FRAC – Fonds régional d’art contemporain Nouvelle-Aquitaine MÉCA; and the Institut d’art Contemporain/Villeurbanne, S.M.A.K. – Stedelijk Museum voor Actuele Kunst.
Maurice Blaussyld is supported by the Fondation des Artistes – Commission mécénat for his new work in Tongue on Tongue.
Image: Maurice Blaussyld, exhibition view Maurice Blaussyld, Galerie Allen, 2019 Courtesy the artist & Galerie Allen (Paris)