Daniel Guilloux

It is rare to observe an artist whose mode of expression seemed linked only to a single technique (the Greek word « technê » originally designates « art ») launch out into a passionate quest in an area other than his favoured one, without however neglecting or abandoning the latter altogether.
It is also rare to observe this commitment, which we could consider as being of a priestly nature, resulting in a total success and in the rapid and dazzling mastery of the new medium.

This break with the comfort of using one single technique, this calling into question definitely has much in common with the posture of the explorer searching for an unknown territory, which was first dreamt of, supposedly hidden behind an insurmountable mountain, beyond an inhospitable plain, then imagined, but accessible only to he who dares start off on this long but fabulous journey.

Primarily a photographer - we should really say author-photographer in order to define his work more precisely - Daniel Guilloux takes us by surprise with his choices and his new discoveries. But is it correct to say primarily? This suggests after photography, when in fact it is during, simultaneously, at the same time, in addition, along with photography that Daniel Guilloux generously offers his sculpted pieces, circumvolutions in splendid equilibrium, magnificent objects engendered by wood.

Then later, after a new quest and in a new surge of generosity, no doubt further to some celestial inspiration, Daniel Guilloux surprises us even more with astonishing pieces in wire which evoke other worlds: other questions are raised, other lines are crossed with reckless daring.

In the face of such a fertile imagination, let us just remember the words of Nietzsche concerning inspiration, whose very essence, he said, lies in being attentive to all the subtleties offered by reality.

Jean Guy Lathuilière / March 2009
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