There is something in them of the dynamic and logic of collage (junctions and disjunctions), of the exquisite corpse and automatic writing processes of the Surrealists, as well as something of the work of dreamlike condensation (Freud), and meditative practices too. There is le geste and la Geste. There is fragment and imperrnanence. He says that "The unconscious is my raw material" and seeks to free himself from conscious narration,to let things emerge and appear.He places his trust in flux.
His motto: To Let Go.
While each piece is an intimate exploration, this doesn't mean it is altogether closed-off, and it resounds with the noises of the world. The outside world arrives in the form of lyrics from cheesy songs heard on the radio, hastily scribbled notes, telephone numbers, train schedules and all kinds of lists. Traces of life.
The support is made use of in literally every direction, according to necessity and the economic resources available. There is no more top or bottom, back or front, left or right.
Upside down/Boy, you turn mellnside out!Round and round.
In the workshop, different poles coexist. The studio is a moving space, in constant redistribution.
There are work areas (on the table or on the wall, sometimes on the floor), tests, storage areas, drying areas, waiting areas, settling tanks, cooling tanks, surfaces that lie in wait...
Economic constraints, initially a cause of suffering, are turned by Simon into an engine and force of resistance. Dealing with the situation as you find it. In this regard, it is not by chance that the work emerges in resistance to runaway neoliberalism, opposing its force of inertia, its rhythm, its own internal necessity.
The title of the exhibition, Your Top Js My Bottom, names a paradox, a reversal. The exhibition tums upside down the usual use of the Transpalette space.The visit will betop-down. We follow Alice's rabbit to the bottom of the burrow. In this exploration of the depths of the unconscious, this descent into Hell, we will undoubtedly come across Orpheus and Eurydice, as well as Noddy, a squirrel or a mouse too...
It will bring together works on paper, canvases and assemblages created especially for this exhibition.
Lass directly diaristic, but still just as idiosyncratic. Lass explicitly sexual, but still just as libidinal.
Lass precious, but still just as refined.
Lass nostalgic for a hypothetical lost paradise as interested in exploring the Hera and Now.
Lass narrative. Lass "English". More peaceful.