The paramount action of Mag Michel is to recover objects dedicate to the destruction, recycling and to make use of it as bases of its work. Once collections, these corpses of consumption are then to cut out, fold, emaciate. These rejected parts are specially chosen, selected, these last being objects of the daily life but which convey a strong image because of their profusion or of their notoriety in the world of consuption (e-waste, IT-waste). Mag Michel vacuum their substance, splits up them, and wants to show that these parts unrecognizable remain omnipresent in our unconscious collective. Discharge with the exposure, the object is transformed into sculpture, assembly, sequence, series without never becoming a figurative work but an icon. The spectator is not present to decode the object in the course of dematerialization but to undergo a face to face. There is no new figuration which emerges from the object transformed. Nothing is to recover in order to be recomposed, work is a report. The artist plastics technician becomes a contemporary urban archaeologist who by principle recovers to show timeless elements. Mag Michel falls under the movement Junk Art. His works want to be poetic and ethnic, his actions try to deliver a message on the interest to become aware of the vital role of recycling Mag Michel questions the validity of our behaviors of consumers by organizing a face to face between spectators and sculptures during the exposures. For him the guns of the traditional sculpture are exceed, the conceptual aspect and the message which emerges from the realization links to give the emotion. The work of Mag fits in the field of questionings of the contemporary sculpture ..'a creation without know how, nor specific technical Could it be still consider like a master piece of art ?
Biography: MAG michel is working in India since 1999. By using vehicles parts, discarded material, squashed or folded steel, MAG produces a serial work based on the observation of our violent environmental decadence. These fragmentations represent MAG’s new powerful sculptures. He magnifies everyday elements but icon ones to raise issues about the recycling. He describes his work as ‘a poetic-ethnic urban junk celebration!’ By elevating ordinary objects to the status of art, he challenges ideas about what constitutes art.
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