Description
Claude Courtecuisse, artiste, designer, enseignant, vit et travaille à Lille et paris. Diplômé des Arts Appliqués de Paris et de l’Ecole Normale Supérieure de l’Enseignement Technique (ENS), il devient professeur à l’Ecole régionale des arts plastiques de Lille de 1970 à 1987, dont il assure la direction entre 1987 et 1989. Il est membre du comité technique du Frac Nord-Pas-de-Calais de 1982 à 1989.
De 1989 à 1992, il occupe un poste d’Inspecteur principal des enseignements artistiques au Ministère de la Culture. Chargé de cours et conseiller pédagogique l’Ecole Camondo jusqu’en 1998, il a été Professeur agrégé à l’Ecole Olivier de Serre (Paris) de 1994 à 2001. Il intervient actuellement à l’ENS Cachan pour la préparation à l’épreuve de leçon à l’agrégation d’arts appliqués. En tant qu’artiste, photographe, sculpteur et designer, il a réalisé des commandes publiques pour le Ministère de la Culture et plusieurs de ses œuvres ont été acquises par le Musée d’Art Moderne de Villeneuve d’Ascq, le Centre Georges-Pompidou, le Musée des Arts Décoratifs et le Frac Nord-Pas-de-Calais.
Context
The effervescences (2015)
In its initial definition, effervescence is described as the bubbling of a liquid produced by the release of gas bubbles according to the introduction of certain substances. But beyond this material and physical reality, the effervescence also expresses the bubbling of a thought when it is part of the conceptual and intellectual investigations of an approach, whether social, political or in the case of artistic present.
Paradoxically, this series of images, in this project, reconciles, stages and superimposes these two physical and metaphorical references ...
An effervescent tablet, extracted from a medicinal production of one of the many planetary holders of the pharmaceutical industry, is fixed on a paper support of 27cm X 34 cm.
After having moistened it with a slight flow of water making sure that it overflows and spreads randomly on the sheet, we inject a few drops of sepia ink in order to give birth to it and appear the geography of chance . The stained surfaces thus revealed in their suggestive appearances offer multiple configurations so that the spectator, who has become a medical patient, appropriates them and interprets them as Rorschach tests.
In addition to this geography of chance, the texts of the medicinal notices are written with extreme rigor, listing and mentioning all the prescribed information.
Everything makes sense in this contrast of conscientious precision in the face of the randomness of the chemical incident. A confrontation that would like, through its provocative assembly, to offer the spectator the capacity to carry out, through his intimate analysis, an “effervescent” vision.
Claude Courtecuisse, March 2019.
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