Stéphane Spach gleaned and collected. He subtracts the set, fixes it, and repeats. If repetition shows the necessity of subtraction, its other vocation is not to confuse the singularity of the object with the ideality of its form. These gestures are part of a poetics of the taxon.
Paradoxically, it is never the same person who repeats himself. Rather, the insistence of variation. Stéphane Spach subtracts the decoration or plants one only to better reveal the contours and the naked materiality of the object. It is almost always a question of loosening the object, of freeing it from its bonds, in order to make it see differently (to make it feel, touch differently, because these objects thus seized are full of notches, folds and scratches).
Then, the familiarity - or absence - of the relationships we had with him surreptitiously began to waver. Unheimlichkeit: the familiar worries, and it is by this way that it arouses, almost obliges, attention. The particular attention he pays when capturing landscapes is just another side of this work that seeks to produce the framework for a celebration of the ordinary. A banality - of places, of the elements that compose them - that is at the threshold of our familiar gazes, of their absence or erasure.
- Alexis Zimmer