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jean fontaine is a ceramist sculptor accepted as a great artist in the world of contemporary ceramics.

the universe of the sculptor is populated by hybrid creatures, perfect tangles of bodies, animals and elements of heavy machines. his ceramics dreams mix with humour, sweat and grease, life and machinery. these surprising creatures reveal us a phantasmagorical universe, a real mythology of the future.
the artist delivers to us a dreamlike version of a world where the borders between the man and his creation merge at the point to deny the definition out to extraordinary limits.
this surgeon-ceramist often starts with  mouldings of machine elements (bolts, crankshafts, track rod...) on which he adds his own creations derived from the human body. this ironmongery shapes in surprising human beings, unless it is the machine which breathes. this human hardware which affirm under the eyes of the visitor is located in the line of the universe of a captain nemo, a new arrival in the dreams of jules verne

museum of the faîence of sarreguemines

the sculptor jean fontaine puts the finger on the perverse gears which set in motion reason and madness. the human body, it is a skeleton, bones, muscles, nerves, a brain and that functions according to a logic close to mechanics.
sometimes it is necessary to open the arteries,  to sew it together, to prick, to put on a drip, to plaster.
jean fontaine, himself, practise the transplant. he takes away here and replaces there like a surgeon-ceramist, he transplants wheels - valves, pawls, condensers, tumblers, cylinders - to bring them together, to fit or to fix together and to couple them with human parts.
from these coition's  are born new works,  delivered in dirty oil and raising at the beginning the beautiful blackness of a mineral oiled metal.

in these hybrids –“ mécanostranges”, “crazymachines”, “locotechnics” - all however,  are eminently logical and rational.

that could work. in any case, it gives the impression as if it would work. thanks to its juggling acts, the ceramist jean  fontaine develops to rise the trompe-l’oeil.-

he plays with the forms, as others play with the words. he is not deprived to triturate the names of its sculptures or to make works with poor logic. because, with fontaine, you arrive at the report that too much reason strengthens the absurdity.

too perfect machines prove inevitably the debility of the homo sapiens. the human being is mostly imperfect, impulsive, vagueness and delicate. also completely homogeneous states cannot throw out the individual person, this small egocentric wheel, intractable, indolent. vis-à-vis to this “totalitechnic”,  god himself is not more that an old bearded man, just good enough to supervise the celestial mechanics and to activate his oil-can to lubricate the terrestrial wheels.

Now you see how the forewords lose their postscript, since you still do not own a typewriter in order to write the forewords or, better said, to write the pre-jokes.

michel froidevaux


last modification: 01 janvier 2012 webmaster@nufnuf-art.ch copyright © 2002-2012 art www.nufnuf-art.ch