Herve Graumann constructs dizzying, modern day vanitas still lives from kitsch, throwaway souvenirs of our plastic culture. The works both valorize and disdain the role of the object in modern day culture. Like schools of fish joining together to create the impression of a much larger- and more powerful- entity, the multiplicity of Graumann’s constructions aggrandize and impress. They are at once thrones to commodity culture and disdainful commentary on the never ending supply of useless consumer goods.
Graumann notes, “think my ‘inspiration’ started when I took the ‘computer’ as a model. It was in the 80’s, and it was quite a new subject to observe and to think about at that time: the nature of it, of what was on or under the screen and how to manage it. The act of ‘saving’ an image, to be able to modify or duplicate datas… The size of images mentioned in ‘weight’ and not only in the traditional dimensions, the color depth of an image, the compression, the format… Inspiration is linked to the environment, in dialectic with the world you live in, and this world started to change radically with the use of computers. Our everyday life has been modified since and we can clearly see today how it changed our reality and the way we deal with. It was the revolution we had in front of our eyes.”
Wholly relevant in today’s seeming rising tensions between the analog and digital, Graumann’s works reference and flit between technological language’s from binary patterns and information systems, reinserting a kind of aesthetic beauty and harmony within these seemingly anti-humanistic vessels.