Complicit Abysses – Artwork Jewellery Discussion board

Claude Chavent, Cage
Claude Chavent, Cage, brooch, platinum and gold, picture courtesy of Viceversa

Does the absurd have a which means? Maybe it’s a query of perspective. Claude Chavent was a formidable jeweler who mastered gold, silver, metal, and iron. He additionally mastered double-entendres, which he cherished to play with like throwing a bottle into the ocean. From his preliminary coaching, as a scientist, he saved seriousness and precision. From his skilled mastery got here the technical perfection and the inventiveness of the options he was looking for.

Briefly skilled in jewellery, it’s as a self-taught individual that he developed his personal strategies of realization. From a intelligent mixture of semi-industrial processes, he then completed his items with all of the artwork and know-how of a rare goldsmith. Because of his authentic strategy, he was in a position to develop a really private physique of labor that he let evolve with happiness towards sculpture of lovely dimension.

Thanks, Claude, for the enjoyment of residing that you simply transmitted to us by way of your smiles and your artwork.


Once we see a bit of knickknack, in gold furthermore, we consider it. The fabric is there, current, totally current, with its worth, with its which means, with this affirmation, insolent. The 2 items introduced listed below are in actuality bas-reliefs, however can we communicate of actuality? The reply is sure and no. With Claude Chavent, the reply is all the time sure and no. Sure, the piece is there, in our fingers, however so is the phantasm. The presence on one facet and the picture that we create mentally on the opposite, that’s the duality of our notion. Gold and iron. The dear and instantly its antinomic. The artist, delicately iconoclastic, attracts with lightness, with an assertive line.

In some unspecified time in the future, Claude wanted to go additional. He determined to do away with the quantity, nonetheless shallow it was, to take away this bas-relief, which lastly served solely to get nearer to a contradictory speech. Because it was contradictory, it was higher to be trustworthy and suggest no reduction in any respect. Sure, possibly, however the thickness of the steel continues to be there, I stated. In fact, after all, he stated, however think about one among these pins on a bit of paper, a drawing, an image, it turns into a easy illustration. On the one hand, these pins exist in your fingers, you maintain a ball, however in actuality you solely maintain the illustration of this ball. And but you maintain it in your hand. So are you holding it or not?

Properly, it’s time for an aperitif, let’s go and get drunk, with actuality!

Claude Chavent, (left) Light Os, (right) Golden Dragon
Claude Chavent, (left) Mild Os, (proper) Golden Dragon, brooches, gold, picture courtesy of Viceversa

The piece under may have been known as “Denial of Actuality,” however that might have been too down-to-earth. Right here the phantasm is masterful, as a result of you must know that on this jewel, no piece is at proper angles. All the things is an phantasm, a lark, even the colour within the mirror makes the white whiter than white. And we are able to’t even share the viewpoint of the black pearl, the central actor. Our angle of view, the attitude we’ve got, actually ejects us from the image. But it’s a magnificent invitation to contemplation.

Claude Chavent, Mirror of Pearls
Claude Chavent, Mirror of Pearls, object, picture courtesy of Viceversa


The change of scale submits the artist (the jeweler!) to a vital repositioning, to a redefinition of his function. How are these items going to behave, since it’s not us who take a look at them however they who query us? A perspective which activates itself because of a motorized artifact involves disturb our spirit. To know that the sculpture is solely turning on itself whereas your mind is telling you to trip—backwards and forwards—inevitably provokes in you an abyss of perplexity. Claude’s humor turns into a severe factor.

Reversal of actuality

A jet, a rain of nails. Water drawn with iron. What a candy irony to think about that rust, for as soon as, dominates the water. And it’s once more by providing us a brand new look, a change of viewpoint, that the artist invitations us to a basic questioning of our certainties.

The banal magnified

Ceci n’est pas une chaise, it is just the story of a chair that reminds you that you simply have been sitting in it a number of moments earlier than. Sadly, this one solely exists in your creativeness, space-time having immediately flattened out to actual measurement. And even in case you are nonetheless there (and it’s, too), one thing has modified, the previous has handed you by. And now it’s as much as you to just accept the great thing about the second, the attitude that connects you to this pretty second lived and to be lived, all made attainable by the artist’s gesture that connects and transforms a second into eternity.


Sure, it’s certainly a query of passage, of opening, on this monumental work that makes us increase our eyes towards an elsewhere. Is Tor a goalpost, or a Franco-Germanic double which means, “Tor” turning into “tort” in French? It’s a new dimension that Claude imposes on us because of (or due to) this door, his final work.

Claude performed with our perceptions, placing holes the place there was nothing, placing fullness the place there was nothing both. Claude was the confederate of the abyss. The abyss took him away, Claude continues to be there.

Claude Chavent, Tor!
Claude Chavent, Tor!, sculpture, picture courtesy of Viceversa