Guillaume Lachapelle

Giullaume Lachapelle’s objects are small. They are models that propose the core vision of reduced architectural views of an experimental design. Lachapelle works like a translator. He encodes certain conditions and offers them as an objective form. „In my work I create metaphors developed from familiar motifs. The elements and objects used are rearranged and transformed into fantastic micro-universes: they embody certain states of mind and reveal a subliminal and disturbing dimension of everyday life.“
The pure white objects, created with 3D printing techniques, appear as blanks. The new, artificial white medium may seem strange at first to the observer, as it either leaves behind a sterile and technical impression or one of a very sublime excellence, depending on the object – that fluctuates between strangeness and gracefulness. Their potency is thus increased as a formula and strengths their ability as an archetype.
The material repertoire of Lachapelle’s language is industrial. Scaffoldings and building parts such as shafts, balconies, facade fragments can be found in his works. In addition to the functional objects such as, wheelchairs, urinals lanterns, doors, windows, staircases, shelves, walls and the like, which are combined into unique structures that seek to amaze and amuse their audiences. Quotes from classical architecture, such as those from the fundus of futuristic and science-fiction clichés, are not a poetic repertoire.
The human is undoubtedly contained inside the objects that are hollow; which is the intention and theme behind of the works. In order to test the potential presence of the people, Lachapelle investigates the figure from all points of view. As a result, the human figure becomes a case study of one’s state of mind, as seen in »Pipe dream«. The indirect representation of hopelessness, vanity, and impotence that Lachapelle is able to formulate through his cleverly developed pictorial metaphors partly achieve a similar impression of the nightmarish hopelessness of Franz Kafka in his parables. One may also be reminded of the comparatively strong and surreal imagery of René Magritte or Max Ernst. With the use of the surreal and the absurd combination or fragmentation to the witty paradox, Lachapelle makes more than an amusing senselessness; it is a differentiated depository of mental states.

Lachapelle’s latest works consist of mirrors. Though they are not used for self-reflection, instead Lachapelle builds mirrored surfaces in order to create infinite views and corridors. The elements of a room such as columns, vaults, lamps and shelves begin to multiply within the small space of a box like kaleidoscope, though convey large spaces through the illusion of a labyrinthine style building. Long tunnels and wide cabinets are endlessly visable – but are not nonexistent!
Lachapelle leaves traces of the traditional art object as final and deliberate.