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OLIVIER GROSSETETE

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In 1993, I joined the Ecole des Beaux-Arts in Valencia, attracted mainly by drawing from observation, balance, it seemed, between action and a slowdown in the world. This is the beginning of five years of research and experimentation that will lead to obtaining DNSEP in 1998. My questions then are focused on the relationship between idea and action, the work and its context ("It's Working", 1997), volume and area. I explore the urban space with the desire to examine the architecture and its symbolism. The idea of monumental buildings cardboard is already there.

From 1999 to 2002, I worked as a stage manager, sound and light Periscope Theatre in Nîmes. This is the opportunity to rub shoulders with the difficulties of the narrative, to develop ways of scenographic space and relative to the scale 1.

In 2000 I realized a drunken boat 1, short film that portrays a paper boat across one referring to famous scenes from the film. What is the work? The boat itself? Performance to the water and bring it to life? The film? Very quickly, it is clear is that the whole work is the object, its use and the traces it left behind. Through this short poetic dimension of my work says. This film will be shown in 2001 Video Cube, FIAC Paris, Tour & Taxi in Brussels and in Athens in 2003. It is with this video that my work begins to make itself known.

In 2002, I developed more monumental buildings with collective will become self-sufficient in relation to the existing architecture, whether mowers. This required large teams to implement. I initially sought support from schools such as the Beaux-Arts de Lyon and Annecy. At the same time, I realize that there is a strong demand from various institutions to cultural mediation and facilitate workshops. This is an opportunity for me to meet this demand with a view to realize my plans. Workshops become preparation time for Buildings and Federation teams. Are thus made several monumental buildings in carton:
2003 One tower, ZUP of Pissevin, Nîmes
2004 Imperial to Teppes, Annecy
2006 Palais Wilson, monumental construction for the Feast of Sustainable Development, Geneva
Crane, monumental construction for the feast of Joliette, Place de la Joliette, Marseille
The 2008 lighthouse, sculpture in the city as part of Alios 2008, La Teste-de-Buch (33)
Church, monumental building on the Cours Mirabeau under "This is South", Aix-en-Provence.
Aqueduct, monumental construction in the framework of "Fully west" Miramas, Grans, Cornillons.
2009 On the deck of the Cours Mirabeau, monumental building on the Cours Mirabeau in the context of "This is South", Aix-en-Provence.
2010 Participation in the project VIAPAC (route for Contemporary Art), Worthy-les-Bains, Seine-les-Alpes, St Paul-sur-Ubay, Caraglio.

Over time I realize-realize that the pre-conference workshops are an integral part of the work to the extent that they can create a core of generating a collective energy of departure. This core group of people working on the construction upstream will then embark contagion by the public in their desire and motivation to see the building erected.
Noting the collective energy always present at these performances, I am interested now more particularly to their conduct, their dimension "narrative" and the possibilities of sound to.


At the same time, that is to say in 2002, I make collages from administrative documents, bank notes, minutes. If I invest in the construction of my own reality with fiction, with these collages I summon the real inventing new fictions. Play is the key word and the words have no master.
2002 Free flights
2003 Chicken, genre scenes
2003 Chicken, still life
Papilloma procèverbalis 2004
2007 Branches of almond, and raises fines
2008 Caterpillar procedural
2011 Table of hunting
2011 SDF (Fixed Without Denier)
2011 Mites food
The word game is an excuse to undermine the collective fiction materials used. PV is more than a color, a palette banknotes in the service of individual crafted fiction.


A third facet of my work closer to the edge of sculpture, implementing and situation of "poetic object". It's a bit one way open with "A drunken boat". This great boat is poetic object already plays on the relationship between the object, its composition, and it is its use or scenario.
These objects operate in their own way back and forth between the dream, the poetic image and the laws that govern our world.
2004 and 2006 "Airplane Prototype 1" and "A force of attraction" depict a great paper airplane. If one presents him as a usable object, the second presents the poetic observation of the failure of its use.
2006 "Balloon or upward mobility" is a real small balloon interior made with hundreds of rejection letters (requests for jobs, grants or exhibitions, etc ...) who wanders more or less freely in exhibition spaces.
2007 "Suspension Bridge: The unwise" is a model of a bridge, hanging (literally) to large helium balloons. Ballooning in the exhibition space, not linking to the viewer's imagination, it gives body to space and dance in the air movement that causes it.

Current projects:

- In May 2012 "Monkey bridge". This project is a continuation of the suspension bridge. Shaped exterior, provided in the Japanese garden Tattonpark the Biennale of the same name. This rope bridge out of the water and get his curve by pulling large helium balloons. Built to scale 1, it can be empreintée by a person (light) for photographic sessions.

- "Orchid" is a project of urban giant flower (5-7 m) of metal that would open under the effect of the surrounding heat. A sculpture that moves on its own thanks to the shape memory alloys.
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