[2] Guillaume Leblon’s artistic practice is built on a number of integrative processes, incorporating elements of sculpture, performance, sound and film in heterogenous installations of dynamic reflection.
Guillaume Leblon’s oeuvre is characterized by the association of physical and sentimental phenomena, exploring the intersection of imposing constructions and the fluidity of their individual elements, paying particular attention to all of the senses.
[4] The piece National Monument (2006–2014) is another excellent example of this practice – a tremendous gray cube of fresh clay held together with sections of white fabric reminiscent of bandages, the installation is placed straddling two rooms of an exhibition space.
Kept malleable by a steady stream of water pouring over the clay, the act that interjects a fluidity and life to a seemingly solid construction also fills the exhibition space with a characteristic smell that engages the senses of the viewer.
[8] Similarly, Leblon explores the relationship between the artist, the viewer and the landscape they inhabit in Temps Libre (2001), a film showing him jumping from a third-story building into the abyss below during the Sonbeek exhibition in Arnhem in 2001.