Gilles BRUSSET creates ephemeral or perennial artistic projects through public or institutional commissions. He works in Paris in the Belleville district and, in conjunction with his artistic activity, conducts master works in gardens and public spaces. Graduated from the Schools of Architecture of Paris Belleville and Versailles, he creates works that articulate differentiated fields (landscapes, architectures, town planning, engineering).
Artistic approach
Art in the landscape : Soliciting a sensitive perception, without mediation, the works are apprehended with simplicity. The gaze of observers is engaged, placed at the center of a sensitive world revealed and interpreted from the angle of specific view of the artist. The physical world is envisaged as a vast sculpture. Each place is a potential work of art in dormancy, awaiting revelation. Works are not objects in themselves, but rather instruments of optics that give the framework of the physical world to be read.
Works in situ : The works deployed in the landscapes are specific to the situation, the history and the symbolism of the places. The use of metal profiles for open sculpture in social housing in Gennevilliers, the crude stone crust by the sculpture Las piedras del cielo for the artistic 1% of the Pablo Neruda school group in Poitiers, Asphalt and grass for the landscape sculpture Enfance du pli on a public square in Meyrin, Switzerland, each time reflects the specificities of the context for in situ projects.
Art in urban planning : Integrated in the pre-operational phase, works of art anticipate and prefigure. In the manner of a model scale 01, they carry out constructions of architectural and landscape intentions, elements of programs or principles of development. The Banc-paysage, a 70-meter-long planted and sculpted bench in Bezons since 2014, demonstrates in vivo that the rapid and inexpensive introduction of temporary elements makes it possible to test in situ and in vivo the elements sketched "indoors".
The time of the site becomes a lived time of the suggested developments. Rather than being a factor of nuisance and embarrassment, it is the occasion for a collective adventure. For example, the anamorphoses of the sculpture-landscape Slices de ville and the kaleidoscopic points of view proposed by the Passages project in Clichy-la-Garenne allow everyone to appropriate the symbolic and imaginary stakes of architectural and urban projects.
Buildings or infrastructures devoted to demolition, fallow plots or public spaces in the making, are opportunities to build specific artistic projects that will allow the cultural facts that are the construction of urban spaces and landscapes to come As such in the eyes of everyone.
