Human condition is this artist’s concern while the survival of humanity triggers a feeling of emergency in Claude Philippe Nolin.

 

In his perspective, art is a tool for society’s transformation.

 

With an dynamic practice and speech, in the seventies, he takes part to the advancement of thoughts and theories, confronting his ideas and values to those of other artists and theorists. Refusing the use of art as a tool for propaganda of political ideology, he stands alongside of artists who question and wake up all citizens, confronting inequity, difficult social choices or new philosophical and cosmological concepts.

 

Claude Philippe questions his own practice. Is it respectful of plastic language if he uses more of the literary language than plastic and visual languages? Soon, this thinking enlarges on different subjects such as freedom of expression, rights and liberties, social space’s ideological stratification and, closely linked, on the definition of Art and its social role.

 

By choice and coherence, Claude Philippe Nolin privileges accessible public spaces to spread his art, where a close encounter with the citizen is still possible.

 

Thus, in his recent photographic exposition, where trees invading concrete and iron garden fences are shown to illustrate allegorically his texts, these are stemmed from his original thought on rights and liberties. The ensemble evokes imprisonment, torture and disenchanted hope.