Car in Cement #1 Sculpture

Morgan Paslier My works are featured in various private collections all over the world : Usa, Canada, Itaty, France, Swiss, Dubai, Germany, Belgium, United Kingdom, India, spain... & included in many Saatchi Art featured collections and catalog. Born 1970, lives and works in VIGNOC (France) I do what inspires me ! Don't forget to live today ! The background: Morgan Paslier was still in middle school when he started studying fine arts as an extracurricular activity, ultimately graduating in the subject. A keen photographer already, he could often be spotted armed with a Lomo, experimenting with image creation. After a spell working as an assistant set designer and lighting engineer for audiovisual productions, he finally settled as a professional photographer. His first assignments consisted in monitoring several projects for a Rennes-based urban planning firm, after which he began compiling portfolios for architects while covering local cultural events as a press photographer. Simultaneously, he kept pursuing his own artistic endeavors, with a particular interest for the very fabric of things – photographing the minute details of the materials he encountered in his journeys and travels. At the dawn of the millennium, he met a publisher who offered to make some of his pictures widely available in large retail outlets. While developing this partnership, he persisted in exploring more artistic, albeit confidential avenues, removed from any commercial consideration, until one fine morning, Marie Ricco, stumbling upon some of his pictures in a print shop, decided to take him on board and promote his work in the Marie Ricco's gallery. And also Galerie Martin Sauvage. The photographs: Morgan Paslier focuses on matter and textures – the intricate physical details of materials. His first creative step consists in hunting for concrete “stuff” that he will photograph and use as a raw material for his digital creations. Inspired by Jacques Villeglé and Raymond Hains, Morgan Paslier is especially fond of such torn posters as can be found on municipal cultural information boards. He particularly relishes zinc advertisement panels freshly cleaned up by city employees and still exhibiting a few shredded remnants of the posters that used to be. Such details are captured, digitized, and later integrated into multi-layered digital montages. Ultimately, those montages themselves are used as backgrounds for stenciled portraits of various, often iconic, characters.