Maybe in my exhibitions I deepen my sculptural research to highlight the dichotomy between the individual and the social and, by extent, to dwell on the membrane each individual is willing to forge or develop between him/herself and the visible constraints and silent coercions of the socio-cultural world.
I mostly conceive of an exhibition like a metaphorical dissection table where the everyday surrounding and different levels of my thoughts converge. I try to compare present social mechanisms and aesthetic phenomena and incorporate past equivalents by looking for their signs and symptoms across different disciplines. This is how I try to explain the everyday to myself.
I am aware that everyday or assembled objects are activators of collective, shareable thoughts. Objects contain the patina of history. They can be used, reexamined and activated in relation to different cultural contexts and historical situations. They might be able to speak a more subtle language across time. In one of my recent exhibitions, the combination of materials forming, what I would call sculptural situations and their spatial arrangement in space, might underline this phenomenon.
The work Pulleys, I, for example, spreads like a tentacle in the exhibition space. The adjacent works might so relate to it to present each one a different version of a story, only from different viewpoints. Some works might look similar. Repetitions – works which are quasi-doubled – point out that the same thoughts incorporated in a work might occur over and over again, but each time are uttered with different words. I believe that artworks are a source of ideas – not just one, but many – rather than a vessel for a single thought or a concept. They by definition speak a language that ignores tags. It is the role of the artist to show that there are multiple, mysterious grey-zones in language and that they are more powerful when left unspoken. I like to think of the viewer like someone that would like to join an open-ended conversation.

Plateau (Antiméridian/Postméridian), 2016
Four one-colour screen print on a copper plate mounted on wood (115x115x1cm), African Mask (Hyena mask, Korè Society, Bamana, Mali)
Photo: Rebecca Fanuele

Gagarin I (Impenetrable Corner/108 Minutes a Day), 2012
Pencil on wall, red adhesive tape, cables, suspension devices, 6 bulbs with china base, programmed light cycle (the bulbs are lightened up 108 minutes per day, each day at a different hour).
Fondation d’Éntreprise Ricard, Paris 2012
Photo: Marco Blessano

Mirror of the Sea (Hangzhou I), 2015
Mirror of the Sea (Hangzhou II), 2015
Several concealed objects, black acrylic on canvas, 2 wooden boards, cord, screws. Each 157x90x20cm
Museum of contemporary art, Shanghai, October 2015
Photo: Wang Xiaoxiao

Poète Public, 2014
Wire mesh security roll container (192x80,5x7,15), two framed, commissioned poems to the street poet Antoine Berard, screen printed image on aluminium mounted on plywood (28x28x1,5cm) mounted perpendicularly on a wall.
Galerie Jèrôme Poggi, Paris, December 2014
Photo: Patrick Lafievre

Reasoning is Faultless (But Wrong Nevertheless), III, 2019
Four objects concealed beneath a sheet of paper, pencil on paper, string, cardboard. Overall dimensions (ca. 72x57x8cm)
Yvon Lambert, Project Room, Paris, March 2019
Photo: Rebecca Fanuela

The Distracted Citizen/Persuasion
Architecture, January-March 2019), 2019 time-based text work (3 months) Pencil on folded paper. Text was retraced each day for 3 months. 110x78x3cm
Yvon Lambert, Project Room, Paris, March 2019
Photo: Rebecca Fanuela

Three Attempts to Leave the Room (Distance from the Chair by the table to the Door), 2019
Two paper sheets, strings (String lenght: the lenght of the string corresponds to the triple distance from a chair placed near the table in a room – the studio – to the exit of the room), nails.
Photo: Patrick Lafievre

Une certaine idée de l’histoire de mon père, I-IV (detail) 2013
A four-part installation Installation view: Kunsthaus Zürich, 2015
Photo: Marco Blessano