From the collapse to the Apocalypse
“Daniel Mourre places his work in an era that would be that of a post industrial civilization. He places himself like an archaeologist who would go and trace the footprints of an ancient extinct civilization: ours. Its essential material is alive and completely that of the civilization of metal: Rust. It is an evolving material that offers the surprise of its constant transformations / mutations. His works can be seen as the fossilized footprints of an industrial era that has lost its meaning and has vanished. The pieces he shows, join in their total contemporaneity, a kind of reminder of primitive art. A kind of new art-first post collapse. Both raw and rough. "
Through galleries worldwide walk many thousands of people, unconsciously leaving their footprints on carpets that hide a variety of plates and manhole covers. This is symbolic to me, and I must capture and sublimate these human trails before they are destroyed.
My artistic approach
My approach revolves around the imprint of man and the indelible traces of his passage on earth. My artistic instinct drives me to exhibit this in a way that makes the looking stop and the reflection begin.
The symbolism of these manhole covers and its similarities with the evolution of mankind and the consequences of our presence on earth, both positive and negative, have become clear to me. My prints of these covers provide a pretext to express - in the form of propagation, impregnation and infiltration – the stigma of mankind’s evolution, the paradox between light and dark, the inside and the outside, the visible and the invisible. The universes above and below a manhole cover are antinomic.
It provides me with a medium for expressing the traces of the human race and our impact on the environment.
The prints reflect, pushed to its extreme, the consequences of mankind’s actions against itself.
From these manhole covers are born works that reflect my emotions, my anger and, above all, this visceral need to show what others express to the world through image and speech. Traditional modes of communication are no longer heard, self-destruction has started, I have become an actor in the face of the chaos that is coming.
The manhole cover was the revelation of the origin of my artwork. Many other symbols of the footprint or the work of the footprint are already feeding my creativity
Like the imprint of mankind and its consequences on our own species, my works are the fruits of my helpless vision of this chaotic world. This is the common thread of the message I want to convey.
Carpets, canson paper, fabrics, carton infills, rusty plates, waste and waste scraps.
Natural or induced rust, coloured juices and transfers.
Wood support, stretched fabric, and calico cloth
My artistic work
The first of my works is a double sided print called “TOREC” and “SOVER” of a carpet cut out from a living room floor. To create this work differently, I used canson paper, worked back and front in different ways, with different industrial materials such as wood fiber underlays as parquet. The basic idea is to express artistically the passage of thousands of visitors.
I created 2 series: the carpet works called “Torec ” on the front and “Sover” on the reverse and works on wood fibers called “Brefi / fiber” (early 2011).
In 2013, developing this approach and my artistic work, I worked with a manhole cover as a way of expressing the footprint both in a vertical way, as water or pollution are immersed in the earth, and horizontally, as a drop of oil spreads on a liquid surface, like the sea or the lakes.
I have entitled these two series Horizontal Propagation and Vertical Impregnation. From the series comes the series such as Batik and Protean.
This form of art stretches and multiplies as it develops, like a spill, or any other form of the impact of human action.
The manhole cover is thus deconstructed.
This series of the 2013 period is composed of 30 works on fabrics.
Currently, I am striving to create larger formats, develop new media and deepen the cultural, sociological and economic level of my work.
Translated by Paul Barnes