“ I approach the conception of a piece like a script that would require its own soundtrack, but more precisely a creative process with a given time of elaboration, a team, a working site and tensions. For me this is where one can find the legacy of cinema which is not just a reference point, but a true zone of influence.” – Loris Gréaud

Louis Greaud – Born in Eaubonne, France in 1979

Louis Greaud represents a young generation of French artists, which has emerged in recent years. He produces large scale works, which are his numerous and ambitious collaborations with scientists, geo-biologists, engineers, filmmakers, writers, and sound and graphic designers. His interweaving interest in art, architecture, and music is easily seen in his project. He mainly concentrates on a large-scale installation project, such as “Cellar Door.”

His resulting sculptures and installations playfully and disconcertingly subvert even the most jaded or worldly expectations of artistic practice. Gréaud has created invisible architectures constructed using air currents (The Residents (2) 2005), light blubs that flicker in time to an EEG recording of his own brainwaves (Image (M46 EDIT) 2007), sub-visible nano-sculptures (Why is a Raven Like a Writing Desk? 2006), and a futuristic habitat for a live duck inspired by a quote about the creative process by filmmaker David Lynch (Eye of the Duck 2005). Greaud’s piece in this show, Nothing is True Everything is Permitted, Stairway Edit (2007), takes its title from the most famous utterance of Hassan-i-Sabbah, the Master of an 11th century Nizari Ismaili mystical sect called the Order of the Assassins or “Hashshashin.” The phrase was popularized in the nineteen sixties by beat poet and pyschonaut Brion Gysin who used it as an inspiration for his writings, artworks and performances. Gréaud transforms the phrase’s anarchic dictum into its architectural equivalent: a rotating helical stairway that seems to have been pulled from an Escher drawing, which, even though it is constantly in motion, will never take you anywhere.  – New G.Class Museum

Gréaud’s practice is characterized by a desire to fuse different fields of knowledge and activity, in a manner which is both futuristic and utopian. His modus operandi is comparable to that of cinematic production (involving collaboration and co-authorship), and he often works with experts from diverse disciplines (including architects and scientists). Gréaud’s work is orientated to ideas and processes rather than finished form, and his projects are liable to manifest themselves in different ways over time, and to move between rumor and fact.

Cellar Door is an ambitious artistic experiment that has a range of manifestations. The notion of an artist’s studio is fundamental to Cellar Door: operating as a symbol of imagination and potential, and as the starting point of a perpetual cycle of activity.

“When people tell me that I don’t know how I am going to finish this story, I usually tell them: wait till the end and you will see for yourself’.” – words on the wall of the gallery

Tremos Were Forever (2005)

Silence Goes More Quickly When Played Backwards

Nothing is True, Everything is Permitted, Stairway Edit (2007)

Modelstation Study (2006) – shows his interest in architecture

Cellar Door

When I first saw images on his works, I was surprised at scale of his ongoing project. Although his works always require a large amount of space and time, he seems to make it near to perfection. I appreciate the conception of futuristic and utopian works, however, more than that, I was personally attracted by how he perfectly visualized the scene– he is definitely conveying his message to audience. He makes works in a way audience can feel the same as the artist intended, when they enter the room and see his work. His modern and clear artworks are enough to captivate the viewers’ eyes at the first time. The first photo posted on above made me feel like being striked by something strong. Dangling lumps look like heads and black liquid running down from the top creates a grotesque atmosphere. I thought the imagery of death I have been thinking of. That is the main reason I chose this artist. It helped me to visualize ‘death.’

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