The past materials are not forgotten but reworked, enhanced, sublimated, and innovated. We find ourselves, metaphorically speaking, in front of a sort of Neo–Brussels, a fundamental European crossroads and essential heart of numerous cultural, historical, and social realities, characterised by a particular atmosphere in which Arnaud Eubelen elaborates and researches in his artistic practice the total hybridisation between design and sculpture, influenced by a significant industrial past.
In the artist's opening words, I find the dialogical interstice between inside and outside, between the living room and the street. His artistic practice breaks down the meaningful and physical boundary between danger and intimacy, between us and others, and between the collective and the private. This makes the Belgian artistan undisputed protagonist of his time and an active citizen who survives the murky stagnation of civil immobility.
Precisely for these reasons, the operation carried out by the artist brings with it numerous reflections, many of a historical nature, others linked to the sphere of plastic and visual arts, orbiting around the world of design and urban regeneration. Allegorically, his final work is consolidated through an exploratory phase similar to alchemical transmutation. By reworking discarded, abandoned, deteriorated and unusable materials to the point of mere rubbish, a redevelopment of the object is activated through a new form and destination, which the artist weaves through a close link with the territory. A circle of perpetual reworking pushes the artist to multiple and never–predictable paths.
Giacomo Infantino
