Jean-Luc Vilmouth

Barbara Toll Fine Arts

If Woodrow brashly frames his objects against a postindustrial context, the French sculptor Vilmouth, who has lived in London since 1975, displays a humanist’s nostalgia. A somewhat silly sentimentality characterizes these works, all constructed (like Woodrow’s) from forms found in the New York streets. The freestanding sculptures are largely ensembles of large, curvilinear objects made of papier mâché dyed grass green and cerulean blue. In one, a fabricated broom is supported by cinderblocks, while another sculpture sports a domelike shape. In a third, pots, pans, and wrenches are entombed in a simulated vacuum cleaner in a way suggesting a coy play on Woodrow’s early practice. The rounded amphora forms and general vessellike shapes imply that Vilmouth is engaged in constructing, through a kind of reversal, the sort of objects he finds and employs in his more important wall-bound works.

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