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Turn the table on the universe, on the immensity of the cosmos… “Play God!”, create planets! What is the probability that each of these paintings represent planets that exist, among the billions of planets in the billions of galaxies that surround us? “Play God “ a game of strategy and of hazard: was the universe created by design (the creationist theory) or is life a random event (the chance theory)?
The paintings are diptychs, made in two: the creationist theory painting depicts a narrative, a representation. The hasard theory painting is a mirror painting of the this design, its outcome is random, the paint as an element itself, its flow will decide.This is the second part of the diptych: Planet 1 depicted a narrative, a representation. The hasard theory painting, Planet 2 is a mirror painting of the this design, its outcome is random, the paint as an element itself, its flow will decide.
Nicolas Poussin did not just want to imitate Roman models but discover the whole philosophy of Pagan or Hellenic culture. Paganism is equated with hedonism…. To quote G. K. Chesterton: "The pagan set out, with admirable sense, to enjoy himself.” This is what in humanity's collective memory is remembered as its "Golden Age” (which in evolutionary terms, occurred between 9000 years b.c. and the start of the Agricultural Revolution.) In creating the Universe, in “ playing God”, Venus, in a darwinian wink has replaced Eve. According to the principles of the Platonic academy, the classical “Mars & Venus” allegories represented the power of love (Venus-Humanitas), also known as the highest level of human evolution, winning over Mars, God of war.
A subatomic particle with a charge of negative electricity, acting as the primary carrier of electricity in solids, also a reference to electronic as in electronic games. Which physical representation is not without reminding the roots of a tree
The "Natures Mortes" bring art expectations back to historical tradition of Plato ‘s imitation of nature- With a cynical vision of the extrapolation of the destruction of our world by mankind the exhibtion invites everyone to trample on the surface, metaphorically emphasizing the destruction of earth by mankind. Bleak vision of hollow volumes, empty of their substance and hopefully provocative, sometimes enlightened by snap shot visions… the shiny red surface of an apple of our colourful world. Imposing this vision, hoping to create change in our passivity.
LES NATURES MORTES bring art expectations back to historical tradition of Plato ‘s imitation of nature. These hollow, flabby volumes, emptied from their substance, while also recalling XVIII‘s century art of silhouette, reflect the liquid modernity of philosopher Zigmund Bauman.
Some escape the nostalgic shadows of past centuries for a glittering present.
Some of them are kinetic, illustrating Reuss quest for morphing paradoxes in one piece, the past and the future, stillness and movement.
Hollow rubber, non kinetic
A shadow of the past sinking in oblivion.
Natural black rubber and recycled plexi base
100cm diameter
A take on Wittgenstein evolution of language
An artwork, a thought as a subject of a book "fictionously" written. The fiction of a fiction.
Killing time, killing time... before it kills us.
Imagining all the possible ways to stop a clock if not from ticking, some still do but at least from indicating the inexorable passing of time.
"What's the colour of my panties" by evoking Giacometti's "L'Homme qui marche" in a whimsical/ arte povera mode juxtaposes the metaphysical quest of the Giacometti's figures to more contemporary ones.
This series are actually photographic portraits on commission, the engraved sentence can also be the referential quote of the portrayed one.
Two meters tall Venuses, the moulds are the Sculptures. One can sit in the bottom and stock cans in the bosom.
