Building visual paradoxes using the morphology of human faces is how this work by Maxime Boulanger should be approached.
These andromorphic forms are the expression of pareidolic illusions he has experienced while viewing certain constructions. By delivering morphologies alone, he hopes that the gaze will be lost both in the overall form of the sculpture and also in the individual stacks of materials put forward.
This method of assembly is drawn from the construction of gariotte micro-habitats, built by hand. By combining this with different typologies of material, the artist clarifies his understanding of building.

This installation questions the perimeter around a work, by demarcating a surface which provides a material environment for the sculpture. Therefore, the sculptures stand upright on regular, geometric forms, suggestive of the beginnings of a honeycomb structure, drawn from an interest in contemporary modular architecture.
The artist affirms his vision of building through this modular material environment, and offers a combinatorial element on two levels, in both the individual construction of each sculpture and the installation of the series.

in Molières, France, April 2016
space lent by Mr and Mrs Parker

For Maxime Boulanger, constructing a space made up of forms based on industrial archaeology is a way to express the different distorted visual perceptions he has experienced, and to be able to transpose them. By establishing a single typology of materials, he offers sensory shifts which are primarily tactile and visual.

The artist views this in-situ installation as a whole composed of assembled materials, with sculptures frozen in the environment acting as offshoots. He reasserts a desire to create sensory paradoxes by using the limitations imposed by the setting; his work is contained and restricted by the exhibition space, and thereby imposes an instability of movement on and under the various materials used.

An installation in the context of a Master’s degree
at the École des Beaux-Arts de Bordeaux, France, 2015