Étienne Chambaud
Contre-Dépouille
2012
giraffe hide stretched on canvas
280 x 160 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
zebra hide stretched on canvas
143 x 121 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
zebra hide stretched on canvas
115 x 100 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
zebra hide stretched on canvas
120 x 105 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
58 x 36 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
68.5 x 42 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
70 x 47 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
61.4 x 40.4 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
68 x 36 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
57 x 41 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
63 x 43.5 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
50 x 34 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
62 x 36 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Contre-Dépouille
2012
springbok hide stretched on canvas
64.5 x 36 centimeters
Unique
The series entitled "Contre-Dépouilles" (Undercuts) consists of a collection of animal skins stretched over portrait format frames, so that the visible side of the picture is the inside of the animal's hide. The title refers as much to the range of craftsmanship and technical know-how required when exhibiting a hide (the art of hunting, taxidermy, tanning) as it does to the vocabulary of classical sculpture, in which an element in the round is called 'undercut' when it requires the assembly of multiple casts, thus concealing a series of cuts in the image of its whole. The series includes a snakeskin inside out on a piece of museum furniture, a rope to keep the public back. The image of the threshold that the inverted snake forms is thus displayed indefinitely for the gaze that will try to understand the motive, that being either instrumental use or decorative function.
Étienne Chambaud
Soleil Inscrit
2012
clay, brass pulley and cleat, bulb, cable and electrical plug
Unique
Suspended in the centre of the exhibition space, the piece entitled "Soleil Inscrit" (Inscribed Sun) presents itself in the form of a spherical lamp. Made of terracotta, the lamp, perfectly opaque, is lit but produces no light, so it would be necessary to break it in order to find its function. Coming from the 'fire arts', it pinpoints a panoramic viewpoint in the exhibition space from which to view the landscape of the exhibition, suspending from it an observation that, detached, is focused on the totality of the space. In that, this 'sun' is inscribed as they say, in Euclidean geometry, of an angle inscribed in a circle, i.e. integrated into a figure that includes it. From the panoptic observation that this lamp suggests, we could wait for it to come and throw a favourable light on the explanation. But its opacity materialises, however, where the exhibition slips away: not in the sense when revealed, it would be deciphered as a figure covering its genesis, but precisely in the sense when it rejects access to the place from which it would be a matter of looking, but also at the point from which one should interpret and understand. The lamp then becomes the figure of inscription of a blind spot in the exhibition, it visually obliterates the surrounding pictures, it acts as a mask that crosses the panorama of the exhibition by rendering it blind. This mask, like an anti-portrait, faceless, inscribes a deletion in the representation device, so as to panic it by bringing it to its epitome: less by transgressing its limits and rules than by taking them to excess in order to disfigure the exhibition.
