Jean-Marie Blanchet
David Coste
Pierre Labat

Unusual Lexicon in All Likelihood 

            FR  EN

Printed on the occasion of the exhibition Selon toute vraisemblance [In All Likelihood], at the art space Le Bel Ordinaire (Billère) from January 12th to March 20th, 2021, a series of three posters is offered to visitors as a collective multiple.
Jean-Marie Blanchet, David Coste and Pierre Labat have each chosen an image that makes sense both with the other two and the works presented in the exhibition. They invited me to have a look at the exhibition. My intervention takes the form of an out-of-sync lexicon presented on the back of each multiple, graphic design by Benjamin Lahitte.

  Jean-Marie Blanchet, Wood, 2014-2020

  David Coste, Teenage Caveman, 2020

  Pierre Labat, Richard & Tony, 2020

The Artists’ Websites
Jean-Marie Blanchet
David Coste
Pierre Labat

Look at the Shows
L’espace des possibles
Lumières de Roland Barthes

Fine or marked trace, vestige of the gesture, Crease remains a possible of the drawing and the seam. On the canvas, it moves out of and over the field to cover the frame, at the border of what is shown. Visible even when it is false, Crease is a vector of lines, the beginning of a volume. It happens that boards rise towards the horizon and become furniture. They bend but do not break. Thus the verb dissociates itself from the noun to act without leaving any memory, contrary to the irreversible folding of natural or artificial rocks.

Act of assembling the constituent parts of a sculptural, architectural, movable or monumental work. Erect imposes. The foundation of a fabrication, it accompanies the artist in his experiments, his attempts and keeps his promises when he leaves the studio. Subsequently, Erect takes shape in space, establishes physical constraints, dialogues with the empty and the full, with the light. It calls to mind the viewers, teaches them to face, to contemplate with simplicity and to feel, just with the carcass. 

A recognizable grid, a sharp marker, it guides the gestures of those who wish to be precise. Millimetric can be applied on any surface and any support. Rarely two-colored, the schoolchild knows it orange-brown on canson or in block; black, blue, green, orange in tracing roll or paper for the architect and the economist of the construction. On a standardized sheet, the artist reinvents it as a landscape to be composed. Millimetric then abandons its utility to find its plastic, extent of still lifes of a confined spring.
Is said in certain artistic projects of the regular use of conceptual and plastic materials. Thirty years ago one could observe simultaneously several people modeling, drawing mounds. This recreational practice, which has become obsessive, was to allow them to discover, afterwards, a utopian site (military).

Discreet, no one pays much attention to it. Under the poetry of its name and the musicality of its pronunciation, Rabbet nevertheless concretizes its essential role in construction. Longitudinal, it stops mobile elements in its retracted angle. It allows for stability, interlocking and just closing. Verbally diverted, it becomes the nick that accommodates the glass sheet fixed in the frame. In ornamentation, on certain pieces of furniture, it has long been the precious notch for works of art and objects to stand vertically.

A magic adverb because it is unique in the matter of principle, Ensemble is never isolated. It arouses fantasy and abundance, the universal. It tells a story through those it brings together. In art, it becomes a masculine noun, and for the purists, is dissociated from the serial principle. It remains more vast. Reduced or gigantic, Ensemble unites by the form, the thought, the vocabulary, the medium, the colors, the philosophy. It gathers the works in exhibition, the Beings in the making and the passion, and in the atelier, the pencils worn out until the eraser.

Fabrication is at the heart of creation. It carries within it the reality of the setting as much as the generosity of the gesture, the importance of the hand and the choice of materials. Sometimes invention, sometimes place of realization, it plays with definitions. Laborious, Fabrication generates the collective, shares the know-how, brings the spectator closer to the work and confirms the artist in a claimed and enjoyable craft.

Disguise of the reality that it infiltrates, if so much that the reality exists. Simili as much as artificial, Fake is a proud aspiration of the matter and the subjects. Skillful illusion which likes to deceive the eye, questions Plato and inspires the artist. The adjective as well as the name embrace the question of the decoration and propose to consider an elsewhere more authentic than its model. The photographic brings doubt, the painting natural and the installation concrete. In bookselling, Fake is an ensemble of diverse pieces grouped and linked together, a delightful analogy with the exhibition.


Ephemeral state of things and feelings. Potentially followed by a fall, Equilibrium remains precarious, which is its strength. Sensory, psychic or visual, it's often a coveted goal; its common success depends on the weight of each one. In his work, the artist favors it or pushes it to its breaking point. Equilibrium unfolds in the multiplication of a painted form, in the mass of a stone and a book, in the right composition, in the conquest of the infra-thin. Within its antonym, its fragility dominates until the collapse.

is generous, it builds, composes, cuts and glues. It gathers several entities in one and yet leaves its freedom to each one. Verb of the make and the handiwork, it aligns on the same plan millimetric (or not) objects and modules. It makes the volume grow by the equilibrium and the accumulation, strengthens the image by disturbing the vision, enchaces the pieces of wood and metal, plays the superpositions. In all likelihood, everything joins together through it and cooperates to make artwork and exhibition.

Raw, formwork, exotic, veneer, chipboard or solid, waxed or painted, triplicated or laminated, since it left its tree, Wood is recomposed, propagated, diverted, centupled. Plywood and stratified, it invests the homes. A hill made of wooden plank, it becomes a model for the painter who explores its facets and its colorful range. In square section, it's cut with a hatchet, sometimes tinted with black and assembled to found a shelter, a hut, a refuge. Sliced, sanded, planed and arranged, it takes on a domestic appearance, welcomes a plant, and inhabits the space. Linked to paper, faithful to the builder and the artist, Wood crosses time and societies. It is alive and tactile.

They give the feelings of the day. Matt, muted, washed out, brilliant, greedy, they are everywhere. They are the bearers of memories and a common imagination, but they are sometimes forgotten because they surround us. They have the power to enhance the artificial, to overplay the natural, to provoke emotions and to touch the sounds. Reduced to three primaries, there are many words to describe them and the variations possible thanks to the light and its eclipse. Appearing on wallpaper, the vermilion incarnation of an apocalyptic sky responds in ping-pong to the blue nights of an untouched cave and to the depreciated browns that hold a delectable revenge on the large canvases.

Fiery, angry, meticulous, passionate, melancholic, placid, impetuous, attentive, curious, precise, prolific... Temperament cannot escape the epithets. It swirls. When it meets with a variety of people, productive sparks can be produced. Mischievous, it’s the one that pushes its finger into the clay to furrow a drawing, to form an imprint. Mischievous, it likes winks and adopts a few scraps to create at the last moment. Rigorous, it refines images and drawings, has fun until all doubts are dispelled. Temperament generates beautiful works. It also knows how to reconcile minds. It never leaves one indifferent.

Reassuring, Domestic keeps this strange thing that it addresses everyone in a panel specific to each one. Inclusive adjective, it's universally recognizable. The artist claims it through a strong voice and usual materials. Far from the "Grand Art", the grandiloquent and the pomp, the artworks are born from the everyday and make signs. The black and mustard lines reflect the image of a comfortable seat, the artist's hands are sometimes shown, the glazed spruce draws a bookcase without books. Art is popular in a beautiful way. Domestic is labile, it deviates to embrace more oppressive notions. It takes then the mask of the wild's domination, adorns the softening of the nature, of the fauna, of the human. To constrain by the destruction, not only in science fiction

— Émilie Flory
Manosque, December 2020

Thanks to Florence, David, Jean-Marie & Pierre, Jean-François Wilmotte, Bertrand Belin, Louis-Nicolas Bescherelle, Valérie, Mum and Dad.

Terms of Use
Made possible by the generous support of all the artists and partners  
Please respect the copyrights of all art & graphic works, texts and images on this website.

/// THANKS xoxo ///