Mario d’Souza


Mario d’Souza

The language of art I have begun has multiple influences : human, conceptual, material, and formal.

My work is directly influenced by objects that I collect from flea markets, garbage, vineyards, and industrial sites in Paris and Menetou-Salon, the wine-making village where I live in the Berry province of France. All of these objects live with me and around me, making me understand the material culture they derive from, as well as their forms and utilities. During the process of creation, I spend many months and years with these objects, which include metal tubes, blankets, chandeliers, tablecloths, curtains, wire, glass, and wood. There are old materials such as mid-century chairs and new materials such as industrial foam that formulate my composition, giving me a connection to the history of domestic production and current industrial practices.

In my work, I seek to speak about the past, dematerializing this history in compositions that employ contemporary language. I do feel that energy, spirit, and form are rediscovered during my process of creation. The work of art I have created during the last ten years, since I began working with this range of found objects, has gone through many changes, evolving from complex heterogeneous arrangements to my current work, which combines human gestures with minimalist concepts, using primarily two materials : tube and sponge.

The tubes derive from metal chairs that I have stripped to their frames and recomposed in familiar but altered manners with some tubes resembling empty supports and others extending vertically up to six metres. The large sponges I work with are the same substance used to make contemporary couches and sofas and are both receptive and repellent to the touch. Both the tubes and the sponge also contain channels of air, lending themselves to interior movement and evoking the metaphors of breathing, and thus life. In working with these two materials, I explore the tensions between equilibrium and imbalance, feeling comforted and engulfed, and again, the past and the present/future. Many of my works also allude to human relationships, romantic and familial, speaking to both the strength and the tenuousness of these connections. There is always a question in my work about stability : both the actual and the yet to be discovered.

I want the viewer to feel the work, to find a new meaning in his or her everyday life. All that I create today reflects the culmination of my understanding, anguish, and productive instability. My work is completed only if there is an intervention of the viewer.

Mario d'Souza | Les Faucards | 18510 Menetou-Salon

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