Zabunyan Elvan & Régnier Philippe, Delphine Coindet, Tours, Centre d’art contemporain, 2000→
Xavier Douroux, Michel Gauthier & Julien Fronsacq, Delphine Coindet, Dijon, Les presses du réel, 2006→
Delphine Coindet, exh. cat., La Box, Ecole nationale des beaux-arts, Bourges (18 June – 5 July 1998), Bourges, Ecole nationale des beaux-arts, 1998
Modes et usages de l’art, le Crédac, centre d’art contemporain d’Ivry, Ivry-sur-Seine, 10 April 2015 – 28 June 2015→
Miroir-Miroir, Le Creux de l’enfer, Centre d’art contemporain, Thiers, 15 October 2008 – 31 January 2009→
New Barroco, Synagogue de Delme, Centre d’art contemporain, Delme, 2 March – 11 May 2003
French mixed media artist.
Graduated from at the École des Beaux-Arts in Nantes, Delphine Coindet joined the Institut des hautes études en arts plastiques in Paris (founded by Pontus Hultén). She quickly developed a singular work method that enabled her to create paintings and sculptures freed from the limitations of a studio; the method consists in using digital design tools and 3D software and having her pieces manufactured by specialized craftsmen. Her formal world draws from the elements and objects that surround us (flowers, feathers, stones, drops of water, saws, rugs, rocks, clouds), from more abstract shapes (cylinders, cones, spheres, crosses), and from the worlds of advertisement and video games.
In doing so, Coindet produces a series of “gaps” between an object and the way it is represented, between its material recreation (which enables her to play on a variety of ambiguities in matter and texture), its exhibition, and its reproduction. Says the artist, “I always take into account the various ‘states’ of the work: the drawing, the image, the manufacturing process, the object, the exhibition, and the icon. I do not want to consider the work as a closed and finished object, or even as an end in itself, but rather as a transitional form that reveals the context which made it possible.” Her work, which stands out as a reflection on the world of representation in the digital age, also opens up an entirely imaginary – even poetic – space, which evades, with gentle insolence and refreshing carefreeness, all the ideological or formal pitfalls linked to new technologies and the excessive use of the readymade.
Delphine Coindet, La Belle Hypothèse, exhibition view, 2004, Centre d’Art Contemporain, Ivry-sur-Seine, plywood panel, lacquered metal, PVC, trichromatic spotlight, Courtesy Laurent Godin, © Photo: André Morin, © ADAGP, Paris
Delphine Coindet, New Barroco, exhibition view, 2003, Synagogue de Delme, Centre d’art contemporain, Delme, polysterene beam, metal chain, rubber join, foam and fabric, Courtesy Laurent Godin, © Photo: Rémi Villaggi, © ADAGP, Paris
Delphine Coindet, Open For Play, exhibition view, 2005, ZOO Galerie, Nantes, Courtesy Laurent Godin, © Photo: François Hardel, © ADAGP, Paris
Delphine Coindet, Surfaces polyphoniques, exhibition view, 2006, Centre régional d’art contemporain Languedoc-Roussillon, Courtesy Laurent Godin, © Photo: André Morin, © ADAGP, Paris
Delphine Coindet, Cosmos, 2009, wooden structure with oars and bowling balls, 350 x 350 x 250 cm, Courtesy Laurent Godin, © Photo: Annik Wetter © ADAGP, Paris
Delphine Coindet, Modes & Usages de l’art, exhibition view, 2015, Le Crédac, Ivry-sur-Seine, Courtesy Laurent Godin, © Photo: André Morin, © ADAGP, Paris
Delphine Coindet, Reliefs, 2015, plexiglas, bones, satin ribbons, plastic, 90 x 70 x 6 cm, Courtesy Laurent Godin, © Photo: Yann Bohac, © ADAGP, Paris
Delphine Coindet, Attachements, exhibition view, 2017, Galerie Laurent Godin II, Paris, Courtesy Laurent Godin, © Photo: Yann Bohac, © ADAGP, Paris