Claude
Closky’s recent work clings to the hyper-consumption of signs, and particularly
advertising signs, among which one will easily include the graphic vocabulary of
economics, in so far as one agrees to accept that its significance, its capacity
of effective representation of a reality, fades away behind a diverting
abstraction, which produces a tapestry effect. Closky upgrades these signs by
taking into account only the stating of meaning, and its function overwhelming
reality, cancelling any message in favour of a decorative reason, whose infinite
variations produce only one tireless reproduction of same. Flux uses in a
simplified way, reduced with the logotypic sweetening of forms inherited from a
modernistic geometric abstraction (circle and line), one of the characteristic
patterns of contemporary economics, consisting in representing displacements,
material and immaterial, between masses. In extracting these fluxes from any
intention and any context, Closky makes their movements intransitive until
absurdity, but also shows how they raise to value, without it being interrogated
nor called in question, concepts of mobility, adaptability, flexibility...
Beyond the smooth surface of the spheres and vectors, beyond the fluidity of
their quiet animation, the violence of a reality cleverly cleared of these
invariably positivist representations is revealed: the violence of the
obliteration of the possible causes and consequences of these exchanges.
François
Piron, March 2004 |
