Here are two texts that explain my artistic approach
The sculptor Rémy Tassou, inventor of the “Cybertrash”, is interested in the waste of the electronic age. His sculptures are made from components recovered from machines that are out of order, irreparable, outdated or simply out of date. He assembles them to create powerful wall sculptures and totems.
For twenty years he has worked to show that there is in this technological complexity a beauty that naturally finds its place in contemporary creation. Beauty of the components, of their shapes curiously imposed by their function and the requirements of the miniaturization, beauty of the materials declined according to a color code to the variations dictated by the necessities of an efficient tracking, secret beauty of the silicon at the heart of these objects covered with patents and sips of precious metals …
His sculptures testify to the design of our time and participate in the necessary work of memory of this exceptional technology that redraws our world and leads us to consider differently our common planet.
Before being an artist, he is a citizen concerned by sustainable development issues. He tries through his art to encourage selective sorting and to participate in the necessary awareness work on the recycling of waste electrical and electronic equipment, WEEE.
Since 1990, Rémy Tassou continues a work that, under the name of “Cybertrash”, aims at the aesthetic restitution of the rejects of this new age in which the exponential use of electronics has made us enter. Started in the manner of a waste collection patient to which no one was ever paying attention, soon become the shaping of these components considered in their multiple aesthetic variations, the work of Rémy Tassou is working to invent the hidden beauty of machines once their function is abolished, they have no other destiny than a partial recycling.
Art of our time, in the sense that the materials used are part of our immediate contemporaneity, the “Cybertrash” Rémy Tassou seeks only this unsuspected beauty. It is part of a tradition of attention to reality that tries to show that it is there, just stolen from the inattentive look by multiple protections designed to promote the use of these devices that the efficiency of their technology. complex made us indispensable. Back to the simple real, reminder of the simplicity of the look that allows to discern shapes and colors, simple and necessary attention to what surrounds us and on which our humanity depends.
The sculptures of Rémy Tassou, these new objects created from the exhaustion of older objects and yet constitutive of our modernity, are therefore of our time, irremediably. Yet the patient work that brings them to existence, which shapes each to give it to it, is that of always; appropriation of materials, assembly, attention to the job that is focused on making concrete an idea. And then, there is memory; that of the data hidden in silicon, that of our time especially, of its obsolete technology as soon as it is diffused, of its mysterious and so trivial machines whose future may one day be archeology.