Since the title under which the sculptures here are grouped, “S’Tables,” serves them as a kind of matrix, the work calls for a semantic reading. Jean Clareboudt seems to see the space of his plastic investigation as an imaginary semantic field. His thoughts stem from a very delicate and intense position in language; for him, the undertaking of a new series of works involves the attempt to exhaust all the formal potential contained in a generic word—it becomes a kind of “seed word,” like a Tantric mantra. In this show Clareboudt develops one aspect of an idea sketched out two years ago in his “