11 Feb 2010

Pascal Broccolichi at Galerie Catherine Issert

The starting point of a Pascal Broccolichi exhibition is usually the close relationship created between the innumerable listening experiences afforded by the exhibition, and what one commonly calls the 'background noise'.

Therefore one cannot fully access the artist's installations without remaining long enough inside the soundscapes he has composed.

Likewise YIRIY evokes a large factory designed to create complexity, and an equation within which the spatial projection is co-ordinated two ways with the temporal accumulation of sounds.

Pascal Broccolichi's representative forms are at the same time objects questioning the notion of sculpture, and machines generating waves which resound according to the laws of acoustics throughout the fluid movements of the exhibition space, which they entirely re-distribute; silence being nonetheless the essential aspect of the rhythm, and more than any other, the recurring figure in most of his works.

Pascal Broccolichi, artist teaching sound at Villa Arson Art school (Nice – France). Developing within several different disciplines, the work of Pascal Broccolichi is based on listening and more specifically, on sound envisaged as a vocabulary of forms that lend themselves to the creation of installations. As a framework for his research, the artist has developed a network of multiple environments connected by ongoing relationships between one work and the next. By scattering the customary principles of certain acoustic laws and their fields of technological application around the exhibition art space, Pascal Broccolichi coordinates the typology of sounds with our capabilities for perception.

His work also features in public collections such as the Nouveau Musée National of Monaco, the FNAC, the FRAC Limousin, the FRAC Paca, MAMAC of Nice and in numerous private collections.