precarity of non-human entities

The artist slows down and speeds up captured images that circulate, wear out and repeat themselves. “They move from one screen to another, from one format to another medium. I’ve dug so deeply into them that I don’t select one version over another. What keeps me going is just the impatience to see how it prints. It can really turn out crappy,” the artist admits.

The print isn’t treated as a surface to interpret, but as a living material. The pixel works within it, connecting with others without any hierarchy, like a discreet agent in a dense visual chain. What appears represents nothing unless prompted. It’s a mutual absorption between gaze and signal, with no salutary outside, in other words: images unmoored from the concept of nature, a concept that distances us from what surrounds us.

Through immersive installations and intrusive gestures, Gérard Meurant drifts through consumerism and its codified rituals: unpacking, distributing and performing. He connects these behaviors to humanity’s enduring attachment to old beliefs, suggesting an uncanny continuity between myths and ordinary acts.

What we see grafts itself onto what already exists. There is no isolated frame, no showcase. It’s not about organizing, but composing with overflow: flows, tensions, leftovers.

“I don’t sell, that’s quite something. I put on shows when I can, I intervene when I get the chance. The rest of the time, I work as an art handler to pay my rent. There’s space to write, but no distance, and too much documentation. If I decided to use OpenAI today, it’s also because I’m in a rush. That was a choice, knowingly. I want this text to say that too. Nothing should be embellished,” concludes Gérard Meurant.