They are composed of painted and printed layers that intertwine in a graphic depth, halfway between graffiti and mathematical diagram. The spirit of these pictorial investigations is that of a distracted conceptual artist and a meticulous punk.
Stéphane Trois Carrés was eleven years old when 2001: A Space Odyssey was released. He saw it for the first time in a cinema in the 7th arrondissement of Paris with his father, on a Sunday afternoon in November 1974. For him, the end of the film remains an enigma: the question of the limits of the cosmos gives rise to an ellipse fertile for the imagination. The only possible answer is a galaxy of abyssal questions, formulated in languages yet to be invented.
Fifty years after the seminal experience of Kubrick's film, Stéphane Trois Carrés reminds us of the need to change the scale of time to contemplate the destiny of humanity. A total project accessible to everyone, every painting is, for the artist, an open-ended wander through the possibilities of worlds.
Stéphane Trois Carrés' paintings are conceived as postulates that unfold their singular logic like theorems. Conceptual and sensitive, they seek to go beyond limits, without ostentation, but in keeping with the contemporary intellectual view that the means of observing the world should reflect its complexity. Like essays or incisive poems, they encourage exploration of a cosmos yet to be constructed. They are composed of painted and printed layers that intertwine in a graphic depth, halfway between graffiti and mathematical diagram. The spirit of these pictorial investigations is that of a distracted conceptual artist and a meticulous punk.
© Speerstra Gallery
