TIME AND IDENTITY REIMAGINED: THÉOPHILE ARDENT'S 'MADCAP REVELS' AT ATTICUS ARTS GALLERY
Eleanor Hartley
17/1/2022
Out of This Furnace of Doubt, to Forge the Mirror of New Men by Théophile Ardent. Photo credit: Courtesy of Atticus Arts Gallery
In the heart of Bath, beneath the graceful arches of the Atticus Arts Gallery, Théophile Ardent's exhibition Out of This Furnace of Doubt, to Forge the Mirror of New Men unfolds as a theatre of sculptures that delve into the depths of historical critique and societal observation. Initially destined for the more intimate confines of Exposed Arts Projects in London, the expansive scope of Ardent's vision, meticulously orchestrated by curator Sasha Burkhanova-Khabadze, found a suitable stage in Bath, where the grandeur of the venue met the ambition of the display.
This exhibition assembles a varied collection of themes, sourced from the rich well of Shakespeare’s literary genius—phrases like Such Stuff as Dreams Are Made On, A Brave New World, Infinite Riches in a Little Room, More Strange Than True, and The Mirror up to Nature resonate afresh in Ardent’s creations. These lines do more than merely adorn; they animate the space, with each sculpture performing in a grand narrative that critiques our contemporary existence through the lens of classical wisdom and contemporary disillusionment.
Théophile Ardent’s sculptures, profound and visionary, echo the existentialist motifs of Alberto Giacometti, influenced notably by Jean-Paul Sartre and admired by André Breton. Like Giacometti, Ardent crafts forms that transcend mere aesthetics, deeply engaging with philosophical and socio-cultural themes. His work eschews straightforward interpretations, melding contemporary and ancient influences, a reflection of his diverse background from Bashkortostan and his artistic maturation in London.
Ardent’s method often commences with the fundamental interaction of touch—a crucial element for any sculptor. He investigates the transformative journey of materials from their natural, raw states into intricate sculptures that convey stories of human experiences, akin to the transformational work seen in Giacometti’s oeuvre. Crafted with materials ranging from traditional limestone to unconventional plastics and fabrics, Ardent’s sculptures represent both the transience and permanence of contemporary and historical narratives.
Drawing inspiration from the ‘character heads’ of Franz Xaver Messerschmidt, Ardent ventures into the domain of expressive portraiture. Yet, instead of 18th-century conventions, his sculptures incorporate modern artefacts—a critique of today's consumer culture. Elements such as gold-toned plastics and synthetic fabrics are used to critique the prevalent commodification in society. This juxtaposition serves as a potent commentary, transforming esteemed art historical narratives into a critique of modern materialism and superficiality.
From this initial layer of interpretation, Ardent’s oeuvre develops into a new sculptural language. Inspired by the tactile methodologies of sculptors like Emile Antoine Bourdelle, he meticulously documents the act of creation through the impressions left by his touch. The unique texture of his sculptures, where every fingerprint and manipulation of material is preserved, narrates the intimate bond between the artist and his work, providing direct communication from the artist’s hand to the viewer’s eye.
Out of This Furnace of Doubt, to Forge the Mirror of New Men by Théophile Ardent. Photo credit: Courtesy of Atticus Arts Gallery
Thus, Théophile Ardent's sculptures are not merely objects of visual appreciation but narratives in their own right, encapsulating the essence of his artistic journey. They foster a dialogue about the intersections of history, culture, and identity, articulated in a language that is distinctly his, echoing the profound influences of his heritage and his engaged critique of the modern world. Through his art, Ardent invites viewers to immerse deeply in the layers of meaning within each piece, challenging them to look beyond the surface and to contemplate the broader implications of the interplay between past and present.
Théophile Ardent, now a London-based sculptor and the 2020 laureate of the prestigious Greek Neatechni Award, creates his works with a focus on both the enduring and the ephemeral. His choice of materials spans the classical—limestone, reminiscent of ancient Greek sculptures—to the quintessentially modern—plastic, symbolising the transient nature of consumer culture. This range of materials profoundly reflects Ardent’s thematic concerns: the tension between timeless values and the fleeting fixations of contemporary society.
A central sculpture in the exhibition, inspired by a line from Shakespeare's Cymbeline, perfectly embodies this contrast. The piece showcases an assembly of pigs, cast in plastic and adorned with crowns and wings, satirising the glorification of wealth in capitalist culture. These gaudy, transient figures starkly contrast with a Bacchante—a symbol of freedom and ecstasy from classical mythology—carved in durable limestone. The Bacchante, caught in a dance of Bacchanalian revelry, signifies a celebration of life that resists the sterile, commodified environment.
Rising from this classical figure are hands that transition into pixelated, green forms—digital and synthetic extensions that highlight the significant impact of technology on shaping human interactions and experiences. This evolution from the tangible reality of limestone to an abstract digital realm offers a profound critique of how technology, while facilitating connectivity, also manipulates and skews genuine human connections.
The exhibition not only displays Ardent’s adept fusion of classical motifs with contemporary themes but also acts as a reflection of the new identities forged from the furnace of contemporary doubts and challenges. Each sculpture within the gallery encourages the viewer to contemplate the intricate interplay of history, society, and personal identity in our increasingly digital and commodified world.
Madcap Revels byThéophile Ardent. Photo credit: Courtesy of Atticus Arts Gallery
Another standout work, Madcap Revels, inspired by Shakespeare’s A Midsummer Night’s Dream, beautifully exemplifies Théophile Ardent’s ability to infuse his sculptures with layers of meaning and emotion through the use of diverse materials. This piece uniquely combines the figures of the Jester and Diana, embodying the fusion of Elizabethan theatricality and classical serenity using an eclectic array of materials, including marble, artificial hair, fabric, and paint. The Jester, a figure synonymous with disorder and revelry, is juxtaposed against Diana, the epitome of virtue and composure. This sculpture not only challenges the viewer to navigate the visual and thematic dichotomies but also reflects the multifaceted nature of human identity that straddles the line between chaos and order, the ephemeral and the eternal.
This convergence of seemingly opposing qualities highlights Ardent’s artistic dialogue between the sacred and the profane, the mortal and the divine. As viewers ponder the Jester's mischievous smirk blended with Diana’s tranquil expression, they encounter a complex narrative of cultural and historical amalgamation that questions and critiques modern societal norms and values. This piece, therefore, not only serves as an aesthetic delight but also as a profound philosophical inquiry into the roles and perceptions that define human culture and spirituality.
The broader exhibition, through its Shakespearean framework, provides a canvas where each quote and each sculpture speaks to the profound transformations within contemporary society. From the digital metamorphoses of the Bacchante’s hands to the dual nature of Madcap Revels, Ardent’s works are poignant commentaries on the digital age's impact on human interaction, cultural heritage, and personal identity.
Furthermore, the exhibition title itself, Out of This Furnace of Doubt, to Forge the Mirror of New Men, encapsulates the overarching narrative of transformation and reflection. It suggests a process through which contemporary society must pass—out of the uncertainty and existential doubts of today, new forms of understanding and being are forged. These new forms, or ‘new men,’ are reflective of the changes in how we perceive the world and ourselves within it.
Théophile Ardent’s role as a sculptor extends beyond mere artistic expression; he is a cultural historian and critic, using his medium to explore and expose the layers of human existence and societal development. His sculptures serve as mirrors reflecting the viewer's thoughts and societal critiques back at themselves, prompting a deeper understanding of the forces shaping our contemporary world.
Out of This Furnace of Doubt, to Forge the Mirror of New Men is not just an exhibition but a philosophical and cultural exploration staged in the format of a sculptural theatre. Each piece by Ardent is a dialogue, a scene that invites the audience to reflect, engage, and perhaps transform. The Atticus Arts Gallery in Bath has thus become more than a space for viewing art; it is a venue for experiencing the profound interplay of history, culture, and personal identity through the masterful works of Théophile Ardent.
Visitors leave not only with visual memories but with questions and reflections that linger, provoking thoughts about the role of art in society and our roles within this ever-evolving narrative. Ardent’s exhibition in Bath, therefore, marks a significant moment in contemporary art—a moment where art transcends its traditional boundaries to engage with the grand questions of existence and identity in the modern era.
The exhibition ‘Out of This Furnace of Doubt, to Forge the Mirror of New Men’ by Théophile Ardent opened on 12 January 2022 and will close on 23 February 2022, at Atticus Arts Gallery, located at 11a Queen Street, Bath.
Eleanor Hartley is an accomplished art journalist with over a decade of experience covering contemporary and historical art movements. Based in London, she has contributed to leading publications such as Art Review, The Guardian, and Frieze Magazine. Known for her insightful analysis and evocative writing style, Eleanor specialises in exploring the intersection of art, culture, and politics. Her work often highlights emerging artists and their innovative approaches, providing thoughtful critiques that resonate with both industry insiders and general readers. With a background in art history from the Courtauld Institute of Art, Eleanor combines academic rigour with journalistic flair, making her a trusted voice in the art world.