Hasards exquis, une exposition pissenlit

The serie Aftertouch is a continuation of Julien Discrit's work on self-generated forms. The artist uses a process of molding and imprinting, which, by contact, allows him to obtain random forms. These arborescences, or "dendrites", recall forms discernible in many physical and natural phenomena such as neural networks, veins, plants... or geographical as in erosion and hydrographic networks. Motifs already present in other series of the artist such as the États inversés and Mille Mississippi.
The title Aftertouch evokes the imprinting process used, since the forms are self-generated after contact, and also refers to sound, more precisely to electronic keyboards and synthesizers, the "aftertouch" being an effect that plays on the sensitivity of expression of the key of a keyboard to create a variation of note.
-

With these series of sculptures, Julien Discrit develops research where the materials and forms are intimately intertwined. He pursues two reflections very important in his work: one on the minerals, crystals and stones, and another on the spatial, geological and temporal relationship between humankind and its environment. Like future fossils, these sculptures of human hands holding rocks represent an almost archaic gesture of gripping. In a snapshot, they propose a "becoming stone" that plays with both materials - organic and mineral mixed together in yet another piece made of reconstituted stone - but also with artistic and historical practices in the sense of inventing a contemporary aesthetic from an artificial archaeological ruin. It thus reveals the aesthetic forms already given in our environment like these stones which are in themselves finished sculptural forms.

The series of sculptures grouped together under the name "Re-member" is, for Julien Discrit, an opportunity to pursue his research on the mineral in its relationship to time and body. These sculptures most often show hands holding fossilised or crystallised rocks. They come to elucidate an almost archaic gesture of gripping.
In a snapshot, they propose a "becoming stone" that plays with both materials - organic and mineral mixed together in yet another - but also with artistic and historical practices.
Through this anachronistic gesture, the artist reproduces identically a process of fossilization that could be described as "natural", consisting of depositing an imprint in a material that receives it. In other words, a casting. However, the forms obtained here take on the appearance of a possible metamorphosis, of an image stopped within a continuum where the material is constantly transforming and recombining.

Lucidograms proposes a study of light, already presented in Liquid Matrix, Mirror series, Axis or Labyrinth. The artist used metallized plastic foil, and played with its reflection on the wall to create and capture patterns. The richness of the repertory of forms is obtained through the distortion of the shelf, reflecting its distance from the wall, and recalling complex mathematical models to some extent.