Geneva, 1980
Since 2005 he has developing an visual arts project exploring how to reverse the deterioration inherent in our exchanges with the world. His process of visual creation draws on structural elements as disparate as the architecture of the Centre Pompidou-Metz and a Ravel string quartet. While the precise stratagem may vary, from the spectacular to the intimate, each undertaking is always rooted in the concept of resilience. This is art haunted by a discourse on the end of time. Jacquet makes no mystery of it. He invokes parallels with the Belgian artist Berlinde de Bruyckere’s work on mutations in living matter, the Japanese Ryoichi Kurokawa’s stellar visions, and his fellow Swiss artist Jean Tinguely’s sardonic laugh and his 1960s machines designed to self-destruct. Yannick Jacquet developed a subtle kinaesthetic method that strips the viewer of his conditioning via an immersive process. 2016 has seen the creation of the generative work Flow on a floating building at the foot of the Alexandre III bridge in Paris. Jacquet’s twofold research into colour and the notions of time and natural cycles has led him to flesh out a new paradigm: slowness. Slowness as one possible path to the urgently needed restoration of sensibility.
