Mon travail artistique est une extension naturelle de mes précédentes activités dans le monde des nouvelles technologies et des réseaux. J’utilise autant des techniques volontairement considérées comme dépassées (céramique, bois, collage) que les nouveaux médias (vidéo, informatique, sons et images de synthèse) pour mes sculptures, tableaux et installations.

Un point central de mon travail réside dans le rapport de l’homme et de son environnement écologique et technologique. En créant des contrastes par le biais de l’ironie ou du jeu, je souligne des faits de société tels que le rapport à la surveillance, la démultiplication des codes, la notion d’erreur comme source de problème autant que de création. D’autres travaux traitent de sujets plus intimes tels les rêves, la perception du réel et le rapport avec notre monde intérieur.

Dans mon travail, quand je recherche la part organique et sensible d’un monde souvent décrit comme postmoderne, technologique et hors de contrôle, je me remets en situation d’humain actif, en prise avec le temps présent, capable d’agir et de réagir. J’essaie de transmettre cette foi en nos capacités et notre créativité à ceux et celles qui rencontrent mes créations, pour leur transmettre joie et confiance sans pour autant verser dans la naïveté.

Bad points:

• too long/detailed
• uses words such as "conceptual"
• too abstract

My work deals primarily with sculpture and installations. The materials I mainly use are ceramics, computers and wood, even if I love to experiment with photography, video, cement, plastic. Also, I must admit that I have a love affair with xerox machines.

I'm always trying to map things out, understand the place, not trying to define it but seeking the alternatives of the place where I am. Sculpture is a very peculiar world regarding this, multidimensional of course, I can dig into the Formal part as well as the Conceptual and the Intimate side of sculpture. The meeting point of these three spaces is my sculpture.

The conceptual part deals mostly with Solutions and Scopes, trying to understand the dynamics of society, the challenges and the solutions. Of course, these solutions are only valid within scopes.

Then there is the personnal part, that is, the smallest scope that can exist: the little voice in my brain. And there, it's chaos mostly. But a comfortable, quite normal chaos. Without the notions of bad or good, it's just there and can be either considered a serie of mental stillshots or a raw material that recombines and mutates constantly to create new tracks and new discovery space. Personnal issue such as erotism and sex, family, transe and hallucinations be it conscious or not, communication and mostly the ability to GIVE.

And at the last part of the spectrum, there is the formal part of sculpture: what is the code: what is its structure, its surface, its color, its shape. Also, what are all the different codes of different people, their superposition, the tension and the equilibrium that exist within codes. Where is momentum and where is emergence of new codes, new mutations. These questions deals mostly with langages, evolution and our adaptation to these.

Philippe Langlois, June 2006.

• What make you tick
• Color, technique, shape, size
• How you view your work
• What makes you tick
• CROSS OUT ADJECTIVES

What makes me unique?

• Force to combine low and hight technologies into art work
• Hack mind about alternatives and openness, fluidity
• International view
• Will to attempt things, to try out and experiment
• Passion about discovering and charting out new territories, being formal or intellectual