In his essentially sculptural work, Baptiste Debombourg crosses information  and  material  in  experiments  that  turn  out  to  be repressed, unspoken of, ignored stories. As an assumed “healing” artist, he cicatrizes the walls and furniture while he reveals their stigmas.



In this series, Inception II comes forward to impose itself through its monumentality,  which  then  turns  out  to  be  paradoxical,  precarious and  fragile.  The  monument  seems  to  be  in  convalescence,  paying  a tribute to destruction, to incomplete reparation, and to resilience rather than  to  power.  This  game  of  furnishing  reconstruction,  beyond  its ironic aspect, is nourished by reflections on time, history, memory and dreams.


Guillaume Désanges