The work of Baptiste Debombourg excels in revealing and disseminating the unspoken, the repressed stories, the dark parts. Behind his sculptures and their materials, there are stories that hide or reveal themselves. An artist who willingly «restores», he scars rugged walls, broken furniture, cracked objects, without masking their stigma.
The result is monumental works, which are paradoxically precarious, vulnerable: recomposed furniture (Inception, 2009), delicately embroidered graffiti on strapontin (Considered vandalism, 2013-2014), numerous and invasive waves of laminated glass (Taurines, 2021). Monuments, yes, but as in convalescence: they do not celebrate power, but partial destruction, incomplete repair, even resilience. Beyond their sometimes ironic aspect, these games of recomposition are considered as reflections on time, history, memory or dream.
