Benoît-Marie Moriceau’s sculptures and installations are developed according to the circumstances of exhibition or the nature of the places where he is required to intervene. Starting with a basic vocabulary often borrowed from existing forms, his interventions generate disruption or perceptual disturbances which continually oscillate between the small and the spectacular. The various places in which he intervenes may be considered as much a part of his work as the pieces themselves. The latter reveal and play with some of their architectural, historical and utopian features, while testing assumptions about the spaces of art and its terms of appearance. He thus intends to extend, re-examine and update the assumptions of conceptual art for art spaces and the manner of its appearance. His work thus arises from a series of gestures, disturbances and lures that make the relationship between art and reality, its areas of friction and its discontinuities tangible.
Titled Concrete Sunset, the work presented in the exhibition is a wallpaper depicting the artificially reconstructed gradient of a sunset observed by the artist in the Texas desert. The artist presents a domestic version of this grandiose everyday phenomenon, an abstract decor serving as a backdrop to other works.