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Jocelyn Gasse
From March 5th 1988 to March 27th 1988
«Compositions»

Jocelyn Gasse’s Compositions are monuments to landscape. Simple architectural units are combined in step-like or pyramidal formations provoking a strong accessional movement. At floor level, various architectural strategies introduce a more intimate scale and evoke structures such as perrons, basins or hearths.

The presence of these monuments is reinforced by the density of their black painted surfaces where different qualities and properties of light are exploited. Reflective finishes mirror surrounding images. Internal or external light sources are integrated to create theatrical artifices. Darkness, or absence of light, enhances the luminous qualities of other hues. But, above all, light is atmospherically rendered as elements of landscape, which illuminate various zones of the work.

This manipulation transforms the constructions into screens. The divisions drawn by the edges of the structural units create a grid, discretely dividing the landscape into parts without destroying a sense of continuity between the various panels, contributing harmony and rhythm to the landscape flow. High and low, as indicators of locus, come into play. The upper limits of the panel are generally illuminated by the light of a setting sun, of dusk, of the hour “entre chien et loup”. In some cases a broad swath of darkness, modulated by tones suggesting stretches of desolate landscape, separates the upper regions from the lower where various constructed and painted strategies animate the forms. In other works, a cascading waterfall plunging through the darkness joins the higher regions to those below. The darkness, the desolateness, the mistiness are in no way threatening. They circumscribe a meditative time and place; time to bathe in atmospheres and to unravel the voyage to the barren, formidable and awesome Icelandic landscapes and its contradictory natural phenomena.

At floor level, reflective surfaces are articulated into concise forms, which, architecturally, welcome, greet, draw in, shelter. There is a transition from the distanced landscape to structures, which elicit notions of deepness, profundity, interiority, and continuity. A point from which the landscape is to be contemplated, not as a description of an external phenomenon, but as a firmly grounded state of being.
- Cyril Reade
- Press release (Optica)

Bibliographie
Lehmann, Henry "Eclectic beauty on the Main", Montreal Daily News, Wednesday March 23, 1988, p. 28.