ARTIST OF THE WEEK 133: NICOLAS DESHAYES
April 2011, by Skye Sherwin, The Guardian
This young artist slickly sculpts the modern surfaces of coffee-shop chains, fantasy kitchens and public conveniences.
Nicolas Deshayes's installations tap into a modern wipe-clean world, designed to withstand sweat, food, shit or any other substance our messy corporeality might leak or spew. This young artist is interested in the surfaces of coffee-shop chains, fantasy kitchens, architect's offices and public conveniences, and his work is made from materials familiar from these very 21st-century phenomena: plastic, laminated hardboard and buffed industrial sheets of metal.
Yet in spite of its slick appearance, Deshayes's work is always ready to remind us of the human factor. In Public Work 1 & 2, a pair of stainless steel wall sculptures could be a cool minimalist creation but actually look just like a men's urinal, and bear clear vinyl stickers in the shape of a gush of urine. There's a bodily dimension too. He frequently uses vacuum-forming, the industrial process used to mould everything from coffee cups to bus seats, but his works are less easy to place than these everyday creations. Deshayes's rippling forms could equally recall Zaha Hadid's biomorphic architecture, discarded skin or, as in a gleaming red panel from his recent Runner, toxic sludge and the kind of bloody slop produced by a decimated vampire in hit TV show True Blood.
Jan 2012, by Jack Mills, Wonderland Magazine
Hoxtonâ€™s Galleries Goldstein will be hosting a one-off exhibition called Hotel Palenque from 6.30pm, whereby invitee Nicolas Deshayes will exhibit the newest of his typically culture-critical installments â€“ his past works have, in various manifestations, laid bare capitalist societyâ€™s messy excesses. The France-born artist and exhibition curator Elise Lammer offer Wonderland a taste of what to expect at tonightâ€™s show, which runs until 9.30pm.
Nicolas and Elise, what mediums will be explored for the show? What will it examine?
Elise: I invited Nicolas to realise Hotel Palenqueâ€™s fourth commission. Each commission is presented in a different exhibition space during a one-night event according to a simple set of rules. Firstly, the work must be produced or reproduced to an A0 format, and secondly all digital files and associated materials must be destroyed prior to the work being shown.
Nicolas: In response to Eliseâ€™s invitation, I will be showing a single A0 photocopy that will be freshly wallpaper pasted onto the outer-side of the gallery window. From the street it will appear like a ubiquitous lo-fi poster â€“ in keeping with the areaâ€™s widely visible fly-poster advertising â€“ but pasted with its front facing inwards the image will only be seen from the inside of the gallery space.
EXHIBIT A | SUPPLEMENT BY NICOLAS DESHAYES
March 2011, by Skye Sherwin, Another Mag
Food photography is a deceptive business. To create the gelatinous, juicy-looking glazes and succulent hues necessary to truly whet a readerâ€™s appetite, the food stylist must employ ingredients you wouldnâ€™t put down your neck in a hurry. Shower gel, engine oil and wood stain are amongst the behind-the-scenes secrets of those mouth-watering Sunday supplement images.
Rising young art star Nicolas Deshayes has fully embraced the process in his recreations of lifestyle magazine cookery pages, Supplement 1-9 series. The delights he offers us include the velvety rumples of an artichokeâ€™s leaves, a crisped coating of toasted parmesan clinging to an oyster shell and the glimmering skin of a silvery grilled fish. Deshayes presents these glutinously rich, queasily sexual images on book-like aluminium supports: hard, brittle lightweight skins. Itâ€™s a perusal of surface and substance that riffs on different notions of taste, of the mind and the mouth, and what is forever being lost in between.
Sept 2011, by R Clark, Expect Delays
Interested in mass produced surfaces, Nicolas Deshayes explores human and synthetic combinations. In a society obsessed with mechanical perfection and wipe clean surfaces, he adopts a minimalist outlook to provide us with sculptures comprising of familiar materials.
Public Work (1) 2009 insinuates bodily functions, with stains dripping down an ambiguous stainless steel structure attached to the wall, itsâ€™ presence undecided as urinal or utility. The gushing urine is actually depicted using vinyl stickers. Deshayes work exists thanks to vacuum-forming: an industrial process used to mould objects more commonly associated with plastic everyday creations, he expresses natural physicality crossing paths with technology.
NICOLAS DESHAYES: NOBLE ISLAND
By Rebecca Hunter, Interface
The title of Nicolas Deshayesâ€™ first solo exhibition at the brand new artist-run Moot Gallery is taken from HG Wellsâ€™ dystopian novel The Island of Dr Moreau, evoking sinister attempts to contain, control and evolve nature, splicing and combining to create hybrid creatures with horrific results.
With this in mind, Deshayesâ€™ five sculptures appear to hold captive something spawned in a meeting of curiously selected members. Rock is a smoothed imitation of a 2000-year-old artefact with a slick coating of car body paint. This almost-fusion results in an aura of dignified sci-fi, also recalling polished metallic minimalism. Vernaculex collages rococo-painted pigsâ€™ trotters, nautical rope and metal into a fractured column.
Each piece feels like a strange object for study, a highly finished aid to learning, as one might come across in a classroom or museum. Although there is no set lesson, there is a sense of discovering something for, or in, oneself in the effort to synthesise the separate and sometimes jarring elements contained within one piece. However, the complex cross-referencing of so many periods, art movements, processes and materials hinders the enjoyment of Deshayesâ€™ real gift, which is visual and sensual. Rather than merely presenting us with half-destroyed golems of cultural history, there is a classical purity to be found in the circles, cylinders, cuboids and cones that form the underlying structure of each object. The cleanly crafted Element, a perfectly cylindrical and evenly coloured model log screwed to a plain metal support, could almost be a scientistâ€™s dull cast of a fossilised specimen, ready for display in a museum of natural history. Yet the contour is too regular to have been derived exclusively from nature.