• Jerome Zonder, Guidnol

    Jerome Zonder, Guidnol's Dust, Installation View, ONE AND J. Gallery

  • Jerome Zonder, Guidnol

    Jerome Zonder, Guidnol's Dust, Installation View, ONE AND J. Gallery

  • Jerome Zonder, Guidnol

    Jerome Zonder, Guidnol's Dust, Installation View, ONE AND J. Gallery

  • Jerome Zonder, Guidnol

    Jerome Zonder, Guidnol's Dust, Installation View, ONE AND J. Gallery

  • Jerome Zonder, Guidnol

    Jerome Zonder, Guidnol's Dust, Installation View, ONE AND J. Gallery

Tout est permis en dedans
— L-F. Céline

Between France and Korea, Jerome Zonder continues to heighten the [geo]graphic amplitude of his work. This exhibition deepens the intensive research of drawing’s limits, which resounds with the extent of our perceptions. It extends a polygraph’s undertaking, not only by increasing the diversity of his practices, but also by refining the ability to take into account emotional reactions. The experimentation consists of the continuous process of drawing’s excess, its formal implementation, as in its subject matter. The codes of representation are exhausted in the virtuosity of their use until it breaks. Techniques overlap until their merger: charcoal, graphite, India ink, aerosol paint … a density which sometimes requires the scratching of lines The exhaustion of drawing (often in tandem with physical exhaustion) produce narrations and the exhaustion of stories produce drawing: a friction which advances the system. Through this process which is a continuous discontinuity, the drawing escapes the deliberate initiative or intentional approach to self-re-generate. By exceeding its codes, the innocence of the picture (such as childhood shown) is corrupted to give place to a drawing which builds itself, a kind of desiring-machine, a body in movement, at once subject and object of imaging. The drawing eludes both its own limits of scales and dimensions : the story gives the narrative material to compose a face, and then the mask is taken out of the leaf to become an object made up with the materials of the drawing, to become once again a character of the narrative. This research cannot stop going on until the end of the drawing while knowing that it leads nowhere. This continuous excess is felt in a tense space. Between the absolute technical control from the codes and the will to break them, between the precision and the dereliction, between the unit of basic forms and the multiplicity of the syntax, between the surface and the depth of the leaf, between plans and dimensions of the drawing, between a body subject of imagination and object of narration, between black and white … a continuous tension animates every figure as much in the sublime comfort as in the illness of the farcical violence. At once intensive and extensive, each drawing is a tense zone, a ridge line with unstable but elaborated balance. This dynamic exceeds limits of drawing, sometimes up to the frame whose colors strengthen the choice of grey’s contrast. This ceaseless tension, in all drawings as in their intervals, without any way out, only raises questions with no answer. The acceptance of the constructivist failure is not despairing : the ecstatic pleasure is felt thanks to an endless quest. Each drawing is a knot of tensions, a Gordian knot which is never resolved that temporarily, but differently tied, finds meaning in the occurring event. The intricacy of the codes, in particular the narrative, except what they tell, need and aim at achieving degrees of emotion, beyond ruins of disaster. Every drawing is an event to be felt. The correctness of the drawing is less important than the correctness of the sensation. The omnipresence of faces reveals deliberate empathy towards the spectator, deserting the naturalistic depiction for an aesthetic of the mask as a sign, which allows an easier identification. Nodal, phenomenal drawings are also reticular : they interact with each other. Each part contains an entire approach ; the totality contains each unit, according to fractal logic. Jerome Zonder’s work reaches uppermost homogeneity through the widest heterogeneity. Autonomous and interdependent, his drawings maintain a continuing relationship of sensations’ experiments. The efficiency of the event is guaranteed by the creation of a critical space. The three rooms of this exhibition present scenography of coincidences. The global understanding allows a retrospective coherence. From a work in the style of archipelago with distinct phenomena, the movement of the viewer redraws the arborescence of a system which built itself, without premeditation of the whole, but which could potentially include the whole world with its complexity. The dramatization of the place, staging the gravity of the childhood, the seriousness of the mystic parody, where sometimes echoes the illustration of a profane punk music, between the narrative pondering and the discursive contemplation. Between the black walls of this sacred space, the spirituality is not undergone by the visitor : he’s not only worshipper of the scene but also especially the actor of a childish game. A cross, the vertical presence of which would be spectacularly transcendent, is in material position, fallen onto the ground, to better express the immanence of secrecy : on this hopscotch, the spectators can experiment the drawing’s epiphany, the density of which tests their own emotional limits.
Lionel Hager