My works explore skeletal structures and industrial landscapes with an emphasis on process and potential energy.
The use of household paint, plaster, wire, and concrete on homasote as a medium replicates the raw materials that are involved in the construction of buildings–and that reappear as structures deteriorate. Each layer camouflages and interacts with the one beneath; homasote covers metal studs; concrete, wire, plaster, and paint cover the homasote. The flexibility and malleability of homasote invites violation, desecration, defilement.
The result accentuates imperfections and the ephemeral, drawing attention and interest to a state of being that is usually covered up at construction’s end, avoided, or simply razed.
Cyrille Allannic
New York, 2009
CV
The use of household paint, plaster, wire, and concrete on homasote as a medium replicates the raw materials that are involved in the construction of buildings–and that reappear as structures deteriorate. Each layer camouflages and interacts with the one beneath; homasote covers metal studs; concrete, wire, plaster, and paint cover the homasote. The flexibility and malleability of homasote invites violation, desecration, defilement.
The result accentuates imperfections and the ephemeral, drawing attention and interest to a state of being that is usually covered up at construction’s end, avoided, or simply razed.
Cyrille Allannic
New York, 2009
CV