paris

Emmanuel Saulnier

Galerie Montenay

Like a prism, Emmanuel Saulnier’s sculpture has from the start oscillated between the erasure and the proliferation of various points of view. It goes hand in glove with what one might call “la folie du jour,” to borrow a title from Maurice Blanchot (a text that could provide us with several clues as to what is at stake here). This “folly,” this enigma, posits that clarity (or transparence) is far from being merely a factor of legibility and unveiling, but is also—like the night—something that alters our perception by crippling or clouding it.

The new works presented in this show (with one exception) resorted to Saulnier’s preferred materials: glass and water. The three Colonnes Coulées (Poured columns; all works 1992)—each two meters long—combined blown and molded clear glass to form these long pieces, stretched into a point at one end (the other end pierced at the top—the small opening

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