fragmentation Ambassador

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Mixed Media

Michel Mag

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MAG Michel can be associated to the Junk Art Movement .
his work are Fragmentation and Distorsion can be indentified in a different way .
he wants to magnify the subject and give a soul to the debris of society of consommation
By using vehicles parts, discarded material, squashed or folded steel, MAG produces a serial work based on the observation of our violent environmental decadence.
These fragmentations represent MAG’s new powerful sculptures.
He magnifies everyday elements but icon ones to raise issues about the recycling.
He describes his work as ‘a poetic-ethnic urban junk celebration!’
By elevating ordinary objects to the status of art, he challenges ideas about what constitutes art.
The paramount action of Mag Michel is to recover objects dedicate to the destruction, recycling and to make use of it as bases of its work. Once collections, these corpses of consumption are then to cut out, fold, emaciate. These rejected parts are specially chosen, selected, these last being objects of the daily life but which convey a strong image because of their profusion or of their notoriety in the world of consuption (e-waste, IT-waste).

Mag Michel vacuum their substance, splits up them, and wants to show that these parts unrecognizable remain omnipresent in our unconscious collective.

Discharge with the exposure, the object is transformed into sculpture, assembly, sequence, series without never becoming a figurative work but an icon.

The spectator is not present to decode the object in the course of dematerialization but to undergo a face to face.

There is no new figuration which emerges from the object transformed. Nothing is to recover in order to be recomposed, work is a report. The artist plastics technician becomes a contemporary urban archaeologist who by principle recovers to show timeless elements.

Mag Michel falls under the movement Junk Art. His works want to be poetic and ethnic, his actions try to deliver a message on the interest to become aware of the vital role of recycling

Mag Michel questions the validity of our behaviors of consumers by organizing a face to face between spectators and sculptures during the exposures.

For him the guns of the traditional sculpture are exceed, the conceptual aspect and the message which emerges from the realization links to give the emotion.
The work of Mag fits in the field of questionings of the contemporary sculpture ..’a creation without know how, nor specific technical Could it be still consider like a master piece of art ?
Conceptual art expression with pictural or sculptural mix media .

-Exploration of the world of consumption and its environmental aspect such as recycling.

-Action through fragmented icons (vehicle..), sacred idea (indian cows, crucifix..), junk items (dolls, shape), distorsion (material and social), print (perennial)

-Ban the cliché or the figurative image but show archetypes and try to raise issue concerning our violent environmental decadence.

-Work on a project about the tridimensionnal concept of the Print. (Empreinte)
My approach of artistic creation is independent and self-taught,
My “distortions” become the spokespersons of my critical eye on society.
While working way I refuse to accept atypical eti Quet-post-industrial, neo-new-conceptual realist I prefer that my work is considered “social default”!
My work is engaged and shows a certain point of view of Indian culture in the global world.
I work with icons of this culture and trying to show their place in globalization (rickshaw, Ambassador, sacred cows).

I put on the stage of the symbols of consumption and problematic contemporary social (Mother India-Social Distortion).
Our lives, our social actions are henceforth defined by models of consumption (single uniform soon).
Sometimes I feel like I live in this existential vacuum, then I fill the dizziness. I often have difficulty in understanding the value of collective codes with which we communicate,
I think my work fall outside a logical, although I develop theories in their creations, knowing that their truths owe nothing to intellectualism. I have not mastered correctly my imagination, it is obviously congested with all sorts of contradiction often symbolic.
My creative intensity lies in the fact of collection, recycling, assembling, a manifier rebur, aestheticize a rest … poeticize Handle waste, surplus is a bit like acting in a primitive world (at the age of stone ) or into the skin of an urban archaeologist.
While the ideas are worked out, but they are most often the result of encounters with materials, opportunities that present themselves during a search (field, snack, street, decheterrie).
I do not want to lock me in a format, in a medium, I have neither knowledge nor proceed. I manipulate, alter and be urgent.


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