Damien Deroubaix
Prolongation // Feeble screams from forests unknown
damien_deroubaix_feeble_2020_galerie_in_situ_romainville_b7a0206.jpg

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

Prolongation // Feeble screams from forests unknown

Prolongation // Feeble screams from forests unknown

Exhibition view

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« If Damien Deroubaix is above all a painter, he also creates installations, sculptures and engraved wood whose exhibition organized in 2020 by the In Situ gallery attests to the relationship. In his pictorial works, he combines, like Rauschenberg marvelously did in his time, different iconic and formal registers, the painting-material-color dialoguing with the black and white print. This principle notably permits him to explore the interplay of repetitions and variations that underlie his plastic thinking, giving rise to constantly reinvented associations. The artist has put together a repertory of signs and figures that are found from one picture to another, either in totality or through details, sometimes as far as abstraction. The strange nocturnal landscapes in which human, animal and plant hybridizations are situated thus become the theatres of a universe at the limit of the fantastic. »

 

Exctract from The mists of time, Natacha Pugnet, January 2020

 

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