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"To watch Sébastien PRESCHOUX work is to agree to oscillate between the serenity of a work that lets itself be built without haste and the tension of an infinitely precise gesture, graciously measured, drastically governed by a process of measurements and counting. The work stretches in time, punctuated by the repeated gesture of the handling of the rule and the compass.


Without impatience, Sébastien PRESCHOUX unfolds the movement of the drawing in the time, let the material unfold in the space. This way that one might think laborious to draw the line, to form the curve or to stretch the thread is proving, for the spectator attentive to the work being done, as a moment of appeasement. Repetition of delicate gestures, smoothly, the time of creation is similar here to a litany of gentle gesture in the eyes.

We could find surprising the choice of this artist who has rubbed the profession of graphic designer for a while, to return to fundamentals: the hand, the body, the physical commitment. To find it even more surprising to maintain the ambiguity of his practice by the motives he summons and which, in fact, could easily pass for digital images or photomontages. For the artist, it is to take the risk of being accused of being a maker by a lack of attention that the spectator would bring to the material or out-dated by the adept of the machine. In two dimensions, the drawings of Sébastien PRESCHOUX seem aminated vibrations, attributable perhaps to imperfections inherent to the fallible nature of the hand. However obvious, the quality of the supports, the furrows of the ink dug by the points, the lines of punches left by the compass are the physical markers which create the motive, oh how far from the flatness of a digital printing. Three-dimensional, the installations difract the light and find in the natural framework of their implementation an obvious case. Photographed by Ludovic Le Couster, these pieces of son acquire an almost surreal aspect that tends to amalgamate the proofs to photomontages.


The border between art and crafts is moving and homology with digital rendering too disturbing. A look without requirement will be misleading. The endurance of the work of creation poses the condition sine quanone of a benevolent slowness in the visit, so that real is the meeting of the eye and the object.


Valérie NAM (writer)