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Guillaume Leblon

Galerie Jocelyn Wolff

Guillaume Leblon’s art is in transition, but it doesn’t show the growing pains that render the phrase “in transition” a charitable way to disparage unsuccessful new work. Whatever his newest sculptures have lost in elegance they have gained in texture and expansiveness. Indeed, his exhibition “Réplique de la chose absente” (Replica of the Absent Thing) seemed to recast maturation itself as lush, autumnal decay rather than patchy springtime blossoming and, as a result, his transition looked altogether melancholic and profound.

If his earlier work was characterized by an almost phlegmatic engagement with architecture, monumentality, and the use of weathered materials, Leblon’s recent sculptures appear more daring but less coherent. Réversibilité (Reversibility; all works 2009) is an assembly of models, materials, tests, and remnants from the artist’s studio, gathered on three short shelves.

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