Philippe Ramette’s work offers off-kilter and quirky perspectives on the world. Returning to the codes of classical sculpture, he has created a set of five Éloges (“Odes”) that can be found throughout Nantes. This series does not pay so much tribute to the glory of a man as to an attitude. In Passage Sainte-Croix, Éloge de la discrétion ("Ode to discretion") tries to blend in with the background, while the exhibition …Point de vue... inside the Passage features a selection of Ramette’s photographic work.
Philippe Ramette’s work – whether it is his drawing, sculpture, or photography – plays with skewed perspectives on the world. Elegantly dressed in his trademark black suit, he is known for depicting himself, often appearing upside-down in a right-side up world, and vice versa.
Defying the laws of gravity and logic without ever resorting to special effects or illusions, Philippe Ramette holds his pose “naturally,” walking horizontally on the trunk of a palm tree (Promenade irrationnelle), floating in the air (Lévitation rationnelle) contemplating the horizon upside-down while sitting on a cliff (window sill?) (Contemplation irrationnelle), studying a map while taking a stroll along the bottom of the sea (Exploration rationnelle des fonds sous-marins : la carte), and so on.
Philippe Ramette questions reality in its most tangible and physical aspects with his “irrational experiments”. Like a dandy waltzing through different time periods, he defies rationality and offers an absurd, metaphysical vision of the world. To do this, he invents and creates a whole mess of objects – especially prosthetic limbs allowing him to contradict the codes ruling our earthly lives: low/high, under/over, small/big, in front/behind... In Philippe Ramette’s world – somewhere between comedy and tragedy – everything is a tale of acquiring new perspectives and contemplative attitudes on the world and its landscapes.
Les Éloges can be seen in Passage Pommeraye, Cours Cambronne, at the Château des ducs de Bretagne, Passage Sainte-Croix, Place Bouffay.
© Martin Argyroglo / LVAN