duendepr.com news François Bauchet : News 2013

François Bauchet : News 2013

François Bauchet’s understated elegance is exuded through a solo exhibition called “cellae” (storage units and tables) at Galerie Kreo,  the presentation of a home furnishing fabrics collection at Maison & Objet brought to you by Thévenon,  as well as a storage system for Super-ette and lastly a limited edition necklace produced by Kreo.

TARQUINIA necklace

Last December, Galerie Kreo organised its first contemporary jewellery exhibition, “Autour du cou,” (Around the Neck). On this occasion, François Bauchet presented the TARQUINIA necklace; a limited production of 10 in 18 carat yellow gold.

Photo © Morgane Le Gall – Courtesy Galerie kreo

Home furnishing fabric for Thévenon

François Bauchet exhibited at the Maison & Objet fair through Thévenon, producer of home furnishing fabrics and manufacturer of made-to-measure curtains and blinds since 1908. On this occasion, the company presented an original collection of home furnishing fabrics created by the designer, incidentally the first of its kind.

photos © Christian Vigier

Cellea collection at Galerie Kreo

François Bauchet is exhibiting nine pieces. The name of the series is cellae: a storage range encompassing tables of varying heights, shelves and bookcases. The only material is regularly perforated, light-coloured technical felt, permeated with tinted polymer resin. The unity of design reflects this unit of matter and the rhythm established. The formal elements are repeated in an identical fashion (serial), according to the same modular logic. Only the dimensions change in relation to the pieces concerned, according to their scale and respective of the functions. cellae is a range based on repetition and marked by truncation.

Rhythm and discontinuity dictate the variations: this limited concentration of expression creates a strong emotional response. Its vitality resides in this reserve, in this voluntary constraint across all aspects including the material, design, number and function. The characteristic economy and tension (perhaps the most sustainably fascinating that design and architecture have developed) guide its features. They drive the dynamic rigour.

A very complex technical implementation, but in fine a feeling of ease and lightness with calm, elegant simplicity and strength. François Bauchet talks about ‘evidence,’ but it is very complex. It may be assumed that this severe grey tint is unique, but there is a wealth of entrancing grey nuances: there is interplay between the pigments and the associated material. They confer a depth where there is none. Icy mineral, synthetic mother-of-pearl- there are forces of abstraction in the virtually elementary chemistry of the colours. They agitate the modular design: the depth no longer responds to the quantified measurement. This colour selection and its handling even reflect the mineral, animal or organic dimensions of the work. These origins or possible influences, unconsciously generated in us by the pieces, are also part of the accuracy and coherence of the work.

Photos © Fabrice GOUSSET – Courtesy Galerie kreo

At the initial stage in the creative process, François Bauchet evokes the feeling of monolith (or monoxylon, or another unit of matter) and of a work which resembles the sculpture of volumes carved from the block– that is an approach which subtracts, not adds. It goes hand in hand with the lack of assemblages which form the construction of regular pieces of furniture, required most certainly by wood or metal. In turn this tremendous coherent mass stands out, where strictness is at another level. Bauchet establishes an oblique discipline. He reclines the cell partitions. He presents a modern focus with an order, the physical rule interpreted with a refusal of orthogonality. Disequilibrium is unavoidable. This lopsidedness is an irresistible dynamic. Inevitably, one attractive feature of the work is therefore the exact moment when it is stopped. cellae is composed of a shaded material cut with a sharp blade. The piece requires a sequel (a continuation, an extension) and yet it is cut. In this decisive moment, there is no desire to go further, a deficiency is established. This rhythm is present in each of the nine pieces, generated each time by the abrupt change which occurs in the dynamic of their various themes. Cutting and severing: the truth of cellae is at the heart of the severed edges. The split is occupied by a violence which initiates movement. Sabotage of the momentum clearly magnifies the energy used better than its continuation, because all the elements were immediately provided. We alone maintain the momentum; we are sucked into this emptiness, inspired by the approach, by the different contradicting perspectives. — Pierre Doze

Exhibition until 16th March, Galerie Kreo, 31, rue Dauphine, Paris 6th, www.galeriekreo.com

 “Monade” shelf by François Bauchet for Super-ette

“I like the idea of economy, even if economy is ironic here since it lies in the organisation, in the clarity of the design and not in the material. Monad is a solid shelf made from solid materials, wood and metal, a far cry from cheap products. The research is at least formal here then: less features to achieve the obvious avoiding the superfluous with high a quality finish. A storage device.” François Bauchet

Photo ©  Felipe Ribon