Artnatalia villanueva

MARTIN MONCHICOURT

Artnatalia villanueva
MARTIN MONCHICOURT

Martin Monchicourt was born in Auch, France, in 1986 and now lives and works in Paris. He studied and practiced carpentry from 2002 to 2009. For the Arts, he studied at l’Ecole Nationale Supérieure des Beaux-Arts in Paris from 2010 to June 2014 and graduated with honors. Martin has been a professor at l’Ecole Nationale Supérieure d’Architecture Paris Belleville since 2015.

La Maison 2014, pallet, breeze blocks, mortar, rafters, tiles, 210x 210 x 100 cm A minimal house. The materials that I chose are strictly necessary for habitat building. Here, the materials are presented in their storage condition, rack and pallet. Nevertheless, they experienced a mutation. The materials have anticipated their future, their conditioning doesn’t consider their use. La Maison is achieved. A house represents comfort, refuge, protection. Here it is massive, compressed and impenetrable.    

La Maison

2014, pallet, breeze blocks, mortar, rafters, tiles, 210x 210 x 100 cm

A minimal house. The materials that I chose are strictly necessary for habitat building. Here, the materials are presented in their storage condition, rack and pallet. Nevertheless, they experienced a mutation. The materials have anticipated their future, their conditioning doesn’t consider their use. La Maison is achieved.

A house represents comfort, refuge, protection. Here it is massive, compressed and impenetrable.  

 

"My work focuses on upgrading, standardization, and profitability; the craftsmanship of my pieces replicates an industrial appearance. Key inspirations for my work are the Schmidler S4 and the K2 are CNC machine tools, they are designed for operating on traditional wood frames and simulating artisanal production. The works I create are considered as potential prototypes for mass production and inspire industry, craft, and expertise. I take elements from everyday life and force them through a transformation, a movement. I use architectural codes, the same as in commercial construction, for the household mixing of private and public approaches to construction.

The objects, spaces, and situations that I create have a functional appearance, an anticipated function. They are actually non-productive, impractical. My sculptures, the installations, they constrain, they direct the visitor to become the body in space. One may grasp the meaning of my pieces with or without knowing construction."  

Escalier 2015, fir, medium-density fibreboard (MDF), Glycero paint , 267 x 267 x 128 cm Escalier is presented as a prototype, a fragment extracted from reality. Its exterior shape and the central hole induce a circular movement, an inexorable return to the starting point. Angular and uniformly painted, the steps mimic those images created by modeling software.

Escalier

2015, fir, medium-density fibreboard (MDF), Glycero paint , 267 x 267 x 128 cm

Escalier is presented as a prototype, a fragment extracted from reality. Its exterior shape and the central hole induce a circular movement, an inexorable return to the starting point. Angular and uniformly painted, the steps mimic those images created by modeling software.

"A carpenter by trade, I understand shape, building materials, and that building strong frames requires a rigorous approach. My concerns focus on the new implications my expertise has on my Art. Therefore, my skills are developing with a new perspective on the materials I use, and my approach attempts to transform the definition of the words profitable and functional. My work explores objects, how they work, and the different ways to use them. I “objectivize” all things concrete, material, and perceptible: objects, furniture, spaces, or devices that I isolate and appropriate. I question their function and utility in order to recreate them according to the principles of diversion, exaggeration, or even elimination. I am interested in the actions that generate these new objects. I try to generate an action from the viewer to fully integrate into the space so that they perceive the meaning of the work and its opposite."

Corset 2011, concrete, soil, chestnut tree, metal, 190 x 100 x 100 cm Corset seems to be an accident. All the objects that compose it are recognizable, nevertheless they belong to no city. It is a generic dispositive, extracted from a model town.

Corset

2011, concrete, soil, chestnut tree, metal, 190 x 100 x 100 cm

Corset seems to be an accident. All the objects that compose it are recognizable, nevertheless they belong to no city. It is a generic dispositive, extracted from a model town.

 

[Translated from French, by BF and EPM]