Further information
Title: 'I will survive'
Gregory Dubus’s works are a representation of his personality which is made up of a duality of ambivalent concepts that he tries to make coexist in harmony: Spontaneity and planning; Consciousness and unconsciousness; Simplicity and complexity; Distance and proximity; Monotony and diversity ...
They also generate a reflection on our own complexity and on the quality of our relationship with others.
Here is the explanation:
Creating geometric shapes with elementary logical progression is simple in itself. The difficulty is to succeed in interweaving them together to develop a myriad of structures and compositions of all different sizes and colors, thus creating an original work of great complexion.
Their creation also requires a great deal of time and patience on the part of the artist because most of his works contain miniaturist forms which most often require several dozen and sometimes even several hundred hours of work.
All his works are produced by show of hands (without rule) and this requires a lot of concentration and dexterity on the part of the artist, especially since, not creating a preliminary draft, this leaves him no right to the mistake. The artist needs to channel his energy and have full control of his body - and his mind - to achieve this goal and thus not see these countless hours of lost work.
Even if he uses reflection before starting a work to determine the parameters to be considered (ex: style, size, and color of the patterns), once it has started, the artist demonstrates a total spontaneity by letting his unconscious guide him and avoiding the duplication of the same patterns when creating his compositions. It focuses only on the part to be performed and does not seek to discover the work until it is completed.
His miniaturist works are invisible from afar and generate a certain monotony - even annoyance - because the viewer's eye can only distinguish an apparent uniformity of colors without real structures. It is necessary that this one approach and takes a closer look at the work to be able to pass to a state of surprise and astonishment by discovering the great wealth of complex and very varied shapes which are an invitation to travel towards infinity with the possibility of reaching a hypnotic state conducive to meditation.
We live in a world where easy and immediate access to pleasure is the key word and therefore appreciating the artist's works is not easy for the viewer. Indeed, the artist asks him to go against what he is looking for by asking him to spend time looking at the work and to make an effort to analyze it, to discover it.
Looking at a work of the artist is also like an analogy to the current behavior of man and his relationship with the other. Indeed, when we look at a person for the first time, we tend nowadays to make a priori at first glance which is very often partial and erroneous. It is only by having an active approach towards the other, by getting closer to them, by spending time discussing with them, analyzing them, and understanding them that we can discover our true personality made up of diversity and complexity and thus be able to bring a reasoned judgment on it in all conscience.
They also generate a reflection on our own complexity and on the quality of our relationship with others.
Here is the explanation:
Creating geometric shapes with elementary logical progression is simple in itself. The difficulty is to succeed in interweaving them together to develop a myriad of structures and compositions of all different sizes and colors, thus creating an original work of great complexion.
Their creation also requires a great deal of time and patience on the part of the artist because most of his works contain miniaturist forms which most often require several dozen and sometimes even several hundred hours of work.
All his works are produced by show of hands (without rule) and this requires a lot of concentration and dexterity on the part of the artist, especially since, not creating a preliminary draft, this leaves him no right to the mistake. The artist needs to channel his energy and have full control of his body - and his mind - to achieve this goal and thus not see these countless hours of lost work.
Even if he uses reflection before starting a work to determine the parameters to be considered (ex: style, size, and color of the patterns), once it has started, the artist demonstrates a total spontaneity by letting his unconscious guide him and avoiding the duplication of the same patterns when creating his compositions. It focuses only on the part to be performed and does not seek to discover the work until it is completed.
His miniaturist works are invisible from afar and generate a certain monotony - even annoyance - because the viewer's eye can only distinguish an apparent uniformity of colors without real structures. It is necessary that this one approach and takes a closer look at the work to be able to pass to a state of surprise and astonishment by discovering the great wealth of complex and very varied shapes which are an invitation to travel towards infinity with the possibility of reaching a hypnotic state conducive to meditation.
We live in a world where easy and immediate access to pleasure is the key word and therefore appreciating the artist's works is not easy for the viewer. Indeed, the artist asks him to go against what he is looking for by asking him to spend time looking at the work and to make an effort to analyze it, to discover it.
Looking at a work of the artist is also like an analogy to the current behavior of man and his relationship with the other. Indeed, when we look at a person for the first time, we tend nowadays to make a priori at first glance which is very often partial and erroneous. It is only by having an active approach towards the other, by getting closer to them, by spending time discussing with them, analyzing them, and understanding them that we can discover our true personality made up of diversity and complexity and thus be able to bring a reasoned judgment on it in all conscience.