COMBINE 2012: Annual Undergraduate Student Exhibition

At first glance, the simplicity of the shapes of Kevyn Durocher’s sculpture evokes a well- constructed, independent universe. Its wooden structure is suggestive of an exposed door frame and its passageway. The passageway leads to a cement block, which holds a polished, almost silky plaster shape. Look more closely and you can see that part of the wooden construction is concealed, wrapped in flesh-coloured knitted fabric, like a second skin so to speak. As you look on, each detail emerges: The plaster shape becomes the tail of a cetacean, dolphin or whale, though it is not important which it is. The shapes and materials, i.e. the wood and cement block, the knitted fabric and polished plaster, the lines and right angles and organic shape of the plaster figure provide contrast to balance the sculptural construction.

When taking in Durocher’s work, you have the impression that you are looking at a small constructed universe that reveals itself little by little. On that note, it should be mentioned that this sculpture is one of a series of seven sculptures from an installation. In fact, Durocher works continuously on several pieces at a time. His creative approach is based on formal and intuitive experimentation in the search for contrasting and thoughtful arrangements. He says that he is greatly influenced by architecture and design, as well as by artists Valérie Blass and Éric Cardinal, although their influence is difficult to see in his work. Still, when you view the full series, or look at the other sculptures in it, the similarities are more striking. Working on several pieces at the same time and using different materials for each one helps strengthen the sensation of peering into small universes or worlds. Formal research tends to account for or subvert each of the physical and spatial qualities of these materials in order to attribute new esthetic properties to them.

Durocher feels it is important not to impose interpretations, but rather to invite viewers of his sculptural installations to a subjective experience. The language Kevyn Durocher prefers to use when describing his work is also noteworthy. In fact, he considers his pieces, or projects such as these, experiments rather than "Oeuvre." Because he likes to work the materials and bring them into play, he creates sculptures out of necessity rather than for the status or the somewhat pretentious aura often attached to art. But Durocher is not up in arms about this, he chooses instead to offer us a poised critique and some food for thought.