Jean-Michel Othoniel’s enchanting aesthetics revolves around the notion of emotional geometry. Using the repetition of modular elements such as bricks or his signature beads, which are his most recurring motif, he creates exquisite jewelry-like sculptures whose relationship to human scale ranges from intimacy to monumentality. His predilection for materials with reversible and often reflective properties–particularly blown glass that has been the hallmark of his practice since the early 1990s–relates to the deeply equivocal nature of his art. Monumental yet delicate, baroque yet minimal, poetic yet political, his contemplative forms, like oxymorons, have the power to reconcile opposites. While his dedication to site-specific commissions for public spaces has led some of his work to take an almost architectural turn, Jean-Michel Othoniel’s holistic sensibility further compares to feng shui or the art of harmonising people with their environment, in his case allowing viewers to inhabit his world through reflection and motion.
Text courtesy Perrotin.
A couple of decades ago, this writer's handbag 'disappeared' at the edge of Montreuil, a gritty eastern suburb of Paris once best known for its marché des voleurs, or thieves' market. In recent years,
Renowned French artist Jean-Michel Othoniel, 55, has been busy. In one of the most important years of his career with five major solo shows and the launch of his most ambitious work ever, he is indefa
Jean-Michel Othoniel has a fascination with flowers. Long before the French artist became known for his joyful, gold-plated fountain in the gardens of Versailles and his cascading wave of Indian glass
A towering surge of black glass bricks is about to hit central France. The Big Wave (2018) is the centerpiece of [Jean-Michel Othoniel]'s major retrospective, Facing Obscurity (26 May–16 Septe
Video of New Works, Jean-Michel Othoniel's first solo exhibition at Kukje Gallery since 2016.
Video of the exhibition Dark Matters by Jean-Michel Othoniel, Perrotin New York, March 3-April 15, 2018 © Guillaume Ziccarelli