Wilson Trouvé was born in 1980. Graduated from DNSEP (Master) in Art, Villa Arson (Ecole Nationale Supérieure d'Art de Nice, France) in 2013 and from DNAP Art, Ecole Régionale des Beaux-Arts de Rennes (France) in 2001. He lives and works in Brussels (Belgium).
When we see Wilson Trouvé’s coloured forms, what strikes us first is the how meticulously they are made. Like Mezzapelle, he uses the most recent techniques and materials, even if he continually returns to clay, like the former goes back to plaster and/or wood. Some of his wall reliefs evoke technological elements: control panels and computer circuits or enormous legos. However, his leitmotiv seems to be the drip, as if all those materials had produced a surplus and this surplus created an overflow. We spoke about the drip with Anita Molinero and her melted materials that precede or follow a catastrophe, or in any case are never far away. But for Trouvé, the drips carry no violence and the surplus isn’t in the least grating or aggressive, they are ingredients for indulgence in sweets without a second thought, total sensual pleasure. Could it be that the ceramic term bisque or “biscuit” in French, leads us to pastry? What’s astonishing lies in this full and complete claim to frolic about in pleasure without exclusion. It’s not just about taking pleasure in matter, but also in objects, like the tea service with liquid brimming over. Breaking brings an additional decorative element, soiling embellishes. These arranged cracks and stains whose transgression space is restrained, is as if the playground for rolling round in the dirt were adjacent to a corseted, or too pristinely kept world. This carefully measured trash reflects all the pleasures of libertinage, a space of adolescent freedom. Frédéric Vallabrègue, Catalogue text extract from the exhibition of Marseille-Luminy School of Fine Arts artist-teachers at the SOPSI Gallery, Shanghaï, 2010