For a long time, dealing with the invisible was the exclusive domain of priests and shamans, before they ceded this privilege to artists. Guillaume Bouisset summons this double heritage in a quest that he is neither the first nor the last to carry out, because it is essential: to give form to the beyond of the phenomenological, to represent what is behind what we perceive. . First through painting, when he was at the Beaux-Arts in Paris, with hypnotic representations of natural motifs (clouds, leaves, etc.), then, after an exchange in Brazil (2017) during which he produced a frontispiece for the Kaxinawa Indians innervated by shamanic thought, with more complex installations, summoning sacred architecture, that of temples or altars. An aesthetic of the threshold between two worlds, the tangible and the beyond, and their correspondences, where man is often represented in his impossible measure to the absolute. Guillaume Bouisset's work is thus articulated around recurring motifs: the mask, as a border between these two worlds, or the eye, as a symbol of this thirst for the absolute prevented by the limits of our senses. More than our two eyes, Guillaume Bouisset summons the third, and reconsiders the old dualisms of Western thought, those which have cut man off from the world, the subject against the object, being against nothingness, the singular against the universal, man against nature.

Clement Thibault