Bronze Sculpture for Sale
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Gibergues
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France
• 1973
Biography
Gibergues was born in Marseille in 1973. There in 1991 he enters the Fine Arts, and his teachers manage to make him definitely give up any attempt to have an artistic career as a painter and drawer. At that time, indeed, for the institution, painting is an overrated medium that should no longer be taught or used. After graduating he co-founds a communication company and keeps painting and drawing for his private sphere. Anyway he does not feel mature enough to show and show himself. This «maturation» takes him almost fif-teen years.
It is curious to see how early in the life of an artist, circumstances and chance can affect the implementation of his work and his themes. Like many children Gibergues demonstrated very young a great attraction for the drawing. But what will be a revelation for him is a picture book that he was offered about «costume.» This book is such a shock that he remembers it today as the first book he ever read. From that moment he will only draw costumes.
This subject will however gradually slip from the costume to the models who wear it, to eventually get to the portrait. Other influences though, from the cinema this time, will characterise his works. Indeed his subjects owe much to Federico Fellini and to his disproportionate characters incarnating the own director’s fantasies. There are also the generous breasts and the vulgar sexuality from Russ Meyer’s movies. But the attentive viewer will also find reminiscences from another fiendish Hollywood author: Eric Von Stroheim and his world of cripples, sex maniacs and depraved «vamps».
Gibergues’ work is thus subtler than what a superficial and quick glance might suggest. The dresses and the attitudes of the ones portrayed are unsurprising and copy the clothing uses and postures of the icons that serve as their model. But Gibergues’ real work is rooted in the gap between the idealised models, endlessly carried by the media, and everyone’s reality: this work is the portrait of a society and its inherent vulgarity more than that of those who replicate it.
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It is curious to see how early in the life of an artist, circumstances and chance can affect the implementation of his work and his themes. Like many children Gibergues demonstrated very young a great attraction for the drawing. But what will be a revelation for him is a picture book that he was offered about «costume.» This book is such a shock that he remembers it today as the first book he ever read. From that moment he will only draw costumes.
This subject will however gradually slip from the costume to the models who wear it, to eventually get to the portrait. Other influences though, from the cinema this time, will characterise his works. Indeed his subjects owe much to Federico Fellini and to his disproportionate characters incarnating the own director’s fantasies. There are also the generous breasts and the vulgar sexuality from Russ Meyer’s movies. But the attentive viewer will also find reminiscences from another fiendish Hollywood author: Eric Von Stroheim and his world of cripples, sex maniacs and depraved «vamps».
Gibergues’ work is thus subtler than what a superficial and quick glance might suggest. The dresses and the attitudes of the ones portrayed are unsurprising and copy the clothing uses and postures of the icons that serve as their model. But Gibergues’ real work is rooted in the gap between the idealised models, endlessly carried by the media, and everyone’s reality: this work is the portrait of a society and its inherent vulgarity more than that of those who replicate it.
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