Fortunately, pile-up in art does not cause any damage, on the contrary, it fosters abundance and juxtaposition games of forms and times. Born out of the collision between a contemporary work and the abstract forms of camouflage pattern, Alain Jacquet’s painting Camouflage Hot Dog Lichtenstein (1963-1998) mixes an art history master work in both Pop and Nouveau Realist spirit. This work, nearly 6 meters wide, is a resumption of the work that concludes in apotheos the camouflages period of the artist, a painting cut into 300 pieces during a performance in 1963 at Galerie Breteau. In the same way, Jean Tinguely, with his Meta Kandinsky (1990), goes back to the historical «Méta-Reliefs», moving paintings from the 1960s, by setting into motion with small motors, little coloured and damaged elements certainly found in rubbish tips. Julien Berthier’s Malaxeurs Cinétiques, sculptures made of zinc-plated steel, re-enact the forms of abstract and kinetic art. These paint mixers, unexpected extensions of a drill, become real tools of artistic construction.
Keith Tyson’s Scrape Paintings, a series initiated in 2013, consists in re-working with paint already existing works: the superposition of topics and techniques from different periods engenders mysterious works in which patterns start interweaving. These interferences build complex surfaces formed by different images forming a connection and sometimes clashing. No trace of a shock in Pierre Seinturier’s pastel, but rather a worrying strangeness in this sacrificial scene in the middle of the woods where a drama is about to unfold. Finally, there must be at the end of this pile-up journey a possibility for repairs. Brazilian artist André Komatsu, makes the poetic proposition of «taping back» framed broken glass slabs with adhesive tape, which, like plasters, creates a new damaged landscape.