Jean-Claude Ruggirello — Claudine Papillon Gallery — Exhibition — Slash Paris

Past: January 12 → February 23, 2013

To inform people who get in the Jean-Claude Ruggirello’s exhibition, the origin of his work, is the sound. There are so many things to discern in this enigmatic puzzle assembling that, the silence, which covers and contains each element of his work until his final design, will be the only component imperceptible here. The wick once sold, its remains to scan the unique spectrum covered by all its proposals.

Only the film may hold us/retains our attention for an indefinitely period. We succumb to the fascination of a sun, which is never end, going down to a land or a sea marked by a man. Beaches habited by cries or planted poles, sentimentals piers suburban bridges, industrial mesh, rails and roads, ways and dunes, clouds seen from the air; together for eternity by the smoothness move of a sequence in an another, these sunset’s lands definitely reconciled us with the human condition — which sequences, magically stretched, experiment a contemplation without falling and drama. Withdrawn from what we relatively perceive, which is just a sequence of images, our desire is finally to go in and no more out. This trip, which is done for us, instead of us, soothes without threatening touch.

In fact, the point of view of one who organize this atificial plot, is cold. All these images, connected to each other, according to a similar model of the versification, indeed belong to everyone, because they have no author. Collected in the ocean of the virtual global network’s data, associated like guinea pigs to sounds with no origins, these images make every parts of the ideal reality, throwing at face, our own dreams. We are definitely unstrained. We believed it.

Properly replaced by this nasty seduction operation — the bride was too beautiful- we need to understand what may contains, the opacity of most other parts of the work. Basically, shiny for shiny, perfect for washing, coated for plastic, all the work articulated here, demonstrates, scientifically, the properties of the matter, as long as we choose unruffled. The aim is not to reflect the material. On contrary, to prevent this, JC Ruggirello works with a method well sophisticated to turn up brutal. Piercing irregularly in the beautiful colored geometry of cubes, squares, rectangles, formica, it requires consciousness the idea of the impact of the ball, that mafia-sounding titles confirm, whereas the occupants of these opportunistic opening are nice branches — or harmless iron’s fils which is not stiff or projecting point can hurt.

Well.What trajectories of these antagonists materials in meticulous order of each monochrome do? Each gush. Grow, even, the wood is not dead yet, oozing fragrant resin. Other, back on themselves, cross and recross the point that we have no idea of where is their beginning or end. To the growth at the scribble, these lines are declaring as infinite and nothing can deny. The colored support is here to serve the interference of his own perception, the eye is disturb where the mind is lost in conjectures. Now, is necessary to return to the first sound experience, which affects JC Ruggirello’s sadistic manipulations since their inception.

The sound surrounds us, through us and constitutes us without we know it. There is no reason that this phenomenon, more often consider in the consumption of musical pleasure, it fascinated us. But the sound is like the temperature, nothing escapes him, his power extends to the silence which is overrun. The sound is vibrations, spins and complexity. In a film, he gives the depth to the image, in life he indicates each moment the distance between things, which is constitute the perspective of reality.

It’s this sound that JC Ruggirello has tracked for a long time ago and still wants to catch and draw through all means of the visible. The name of the White noise, for example, comes from “white noise” which is obtained by leveling the density of all frequencies and becomes like a breath or an accoustic attenuator . We also find it in another medium in JC Ruggirello’s work, which is care very much,the effect of snow television screens down. For him, the materiality of sound determines the forms. Like the impenetrable maze of colored transparent abstraction’s tape laid there on a pedestal. Sculpture too light to properly personify this status, specific design intentions harmonics, this is confusing transparent as its author, she said all of its composition, and nobody knows where it comes from.

And for good mouth, definitive explanation of the work presented here is in reverence to the artist for the highest form that exists in the world, and we recognize here and there in visual disturbances that patiently developed: the cotton candy. Scientific experience within the reach of all, barbapapa through all states of matter until its dissolution in human digestion. The art, provided we accept losing the north to it, does not do much else.