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In a world that draws our attention to the present moment, both facts and stories are now subject to fluctuations, whether fictional or virtual. What if we started inventing the truths we desired, to the detriment of genuine facts? What kind of worlds would this create?

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The gap between the sophisticated means that are implemented and the simultaneously simple and tautological effect that is obtained by clicking +1, plunge the user into an equivocal state. Why and for what effect does the user click once or many times in a row? Complying with the inscribed formula in every respect, the result holds no surprises.


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Paul Souviron produces analogic 3D renderings the same way the sculptures video that you see on the monitor is actually a hand-made physical model recorded on a smartphone, shot in the artist’s living room.

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Souviron (b. 1979) is an artist working primarily in sculpture. His work synthesises practices in volume and sound that are explored through sculptural installations and environments in which he plays with a balance of interaction and frustration. These tensions are magnified in his practice, which disturb and provoke the societal balance, so that we can question the unstable world we live in. Souviron’s works question man’s ability to exhaust these natural resources and to scuttle the ecosystem services that ecosystems provide. His works reveal man’s stubbornness in anthropizing the world around him, even as scientists put forward the hypothesis of a new geological epoch, which would succeed the Holocene, and which they designate under the neologism of Anthropocene.

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Skins are all this personalities or avatars you can change at any time on programs. The video brings the question of scale and production by imitating and using the exact same codes and methods of 3D pre-visualisation software.

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Matter is matter in these four sculptures, by looking through the prism of 3D without any digital. The jars, reminiscent of an antique era, are stuck in grids that remind us of the 3D programs where possibilities of changing skins and textures are endless. The drapes become those skins and personify each structure.