View of “Pierre Vadi,” 2012.

View of “Pierre Vadi,” 2012.

Pierre Vadi

Ribordy Thetaz

View of “Pierre Vadi,” 2012.

For his recent exhibition, Pierre Vadi presented a group of works realized over the past two years. The pieces chosen, all sculptural, were arranged on the floor and formed a landscape seen from above, an imaginary city map. The elements—their materiality surprising, their colors artificial—intermixed an industrial finish with an intriguing kind of organicism, even a sensuality. The show’s title, “Cplsion Cldestine” (a poetic compression borrowed from the American writer David Foster Wallace), immediately announced the work’s psychological charge.

Arranged in a rigorous grid, the exhibition, occupying both floors of the gallery, articulated several “families” of works. Developed from distinct processes of fabrication, they were the result of casts and imprints of objects, forms taken from domestic environments. Autre exemple de la porosité de certaines frontières (Another

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