'Tom Sachs: Aesthetic diversion' His works highlight handcrafted creation and modest materials while addressing societal issues with irony.

By Virginie Chumier-Layen

His works seem to bear the imprint of an uncompromising nature. And yet, more than subversive, American artist Tom Sachs' pieces celebrate handcrafted creation and the modesty of materials, and question many societal issues with humor and irony.

Chanel, Prada, McDonald's, the Simpsons, NASA, rockets, space stations, but also Picasso, Mondrian, everyday objects, weapons, chawan bowls and the tea cere-mony... These are just a few of the artistic and societal references that appear in the body of work begun in the 1990s by this former student at London's Architectural Association School of Architecture, born in New York in 1966. However, beyond their omnipresence, Tom Sachs reflects on the creative process in his sculptures, installations and paintings.

Polysemic objects, multiple materials and handmade products

At the end of the 1990s, Tom Sachs began designing his 'Cultural Prosthetics', works combining readymade objects with the codes of luxury and consumer brands. These include the Chanel Chainsaw, Chanel Guillotine and Hermès Hand grenade. 'I created my Chanel Guillotine from American police checkpoint barriers l'd stolen in New York, then covered with the logo and color codes of the French luxury brand,' says the graduate in art from Bennington College, Vermont, in 1989. This functional guillotine has a real blade, which is illegal in the USA, as it is considered a destructive device. 'Admittedly, there was a time when I claimed that fashion was a form of fascism. In fact, I'm neither for nor against brands. For me, fashion and luxury are worlds akin to advertising, which is a deadly and deceptive tool. At the same time, I appreciate the elegance of a woman dressed in Chanel. Art must be able to express a plurality of points of view...'. (...)