Artworks by Thomas Tronel-Gauthier and Jean-Baptiste Caron express their encounter with physical, natural, ephemeral or invisible phenomena they try to make durable or visible using materials such as granite, glass, concrete or resin.
Thomas Tronel-Gauthier uses shapes that are « already there » like traces left by the tide (The Last Piece of Wasteland #7, 2015 et The Last Piece of Wasteland #4, 2014 ) or by the wastewater flow from the city Le Havre (Les sables retrouvés, 2015). In another way, Jean-Baptiste Caron develops a range of skills from handcraft like glass art (Les forces en présence, 2016, Verre soufflé, 2015), from construction and from sculpture methods to reveal and circumvent the natural laws that govern our world. (A la surface du visible, 2015, L’Epaisseur de l’air, 2015).
Those works are part of a history of forms and art (La forme des possibles, 2013), referred to abstract compositions shaped by Rorschach tests (Les Sables retrouvés #3, 2015), to a vocabulary of natural patterns and structures like fractals (Peinture noire #1, 2014) or from the morphogenetic process (Valise aux morphogénèses, 2011).