Born in 1986. Lives and works in Paris.
Jérémy Gobé's work reflects his vision of an art situated "in life". He seeks out workers without works, materials without workers, objects without use and unshaped works. In particular, his artworks propose that we reconnect with nature. Convinced by Rodin's verbatim: "an art that has life does not reproduce the past, it continues it", and inspired by ancient know-how, Jérémy Gobé imagines global solutions to contemporary problems. Since 2017 he has created corail artefact, a project spanning art, science, industry, traditional knowledge and education to save the coral reefs. He also contributed to the celebration of the 5th anniversary of the Paris Agreement, organised by the French Ministry of Foreign Affairs and Art of Change 21.
I think that to face the ecological crisis, we need artists. Why? To inspire us, to be creative and to inspire the different areas of society: art, science, industry, education - to find innovative solutions, because we will need them in the face of the challenges that await us.
Corail Restauration, Variation 6, 2012
The work of humans and the imprint it leaves is the common feature of all of Jérémy Gobé’s creations. The artist often extends natural elements (sea urchins, butterflies, corals) through manual means, such as knitting, drawing, sculpture, in order to create poetic hybrid objects. His projects start from multiple fortuitous encounters, his artworks taking shape according to what he finds along the way - abandoned fabrics or found objects - which he makes noble (again).
Corail Restauration is a long-term project in which Jérémy Gobé works with corals and which has multiple activations. For “Meltem”, the artist conceived a piece of red coral which, with the help of construction pegs of the same colour, becomes an organism that invades the space of the Galerie Haute of the Palais de Tokyo. This mass, mixing natural and manufactured substances, appears almost threatening in the context of the exhibition, an invasion of the living that commences from a wooden table and ends its journey upon slabs of grey marble.
(Written by Catherine Strasser and Daria de Beauvais, curators of the exhibition “Meltem” at Palais de Tokyo, Paris, March 2013)