WEBS of HUMANITY
"The 'Humanistic webs' is a way of imaging humans that in my creative approach are
obtained by compiling fanciful, dramatic or grotesque human forms, fragments and figures;
sort of accumulations of intertwined people that spring out or fall in from relief surfaces."
"As distorted tissues packed with bodies, the numerous attitudes and elusive postures of the humanoid
elements which by freeform juxtapositions and unexpected compilations whence spaces are part of the
form, fit together amongst textured surfaces or relief walls moulded or modeled in wax, clay or
paper that sometimes perforated to create a more or less prominent topography are signs and
representations of perpetual paradoxical permutations that from anodynes phenomenon to virulent
confrontations pursue one another throughout the temporality and the historicity of societies."
"It is through this expressionistic form of birth and interrelatedness of human landscapes
that Genest by his facility to render figuration, comes to coordinate it into an expression
of human intensity and thus he acknowledges a certain pleasure to appropriate history and play
with it by linking the ages in his formal structures." RG
TEXTURES of CIVILISATION
"What I name 'textures of civilizations' is a kind of iconographic imagery proper to my own
"This procedure to texture surfaces and wall reliefs is obtained by the stamping into clay of varied
textures and numerous found objects or their mouldings and placed without preconceived plans and
randomly juxtaposed to each other in an eclectic manner."
"These items are miniaturization of monuments, cars, planes, boats, trains, soldiers, animals,
varied gears and wheels or any other object that can symbolically represent our civilization of
today and its pursuit throughout history."
"The landscape of numerous impressions creates a topography of images and icons that reproduces
the appearance of a clutter illustrating a texture which for me is representative of our civilization." RG
"The 'polyometric eccentricity' precept that often guides my formal approach, is a
geometric reformulation that consist in breaking away from its traditional rectangular boundaries
so as to extract it from its foundations and make it go beyond its formal frameworks and by impairing
its perimeters and axes and sometimes even its topography, to phase shift and realign its
quadrangular static symmetric components in order to create a polyvalent geometry of versatile
irregular and asymmetrical dimensions and measures whose the angles, edges and contours are
misaligned in an eccentric manner."
"This new perspective brings about a odd geometry of varied multifaceted and multidimensional
polygonal surfaces and polyhedral volumes, that is to say, it flips the traditional geometry into
a versatile eccentric geometry or 'polyometry' in order to create an illusion that the dynamic
proportions and perspectives vehicle a random kinetic eurhythmy." RG
SCULPTOR's MANUNUSCRIPTS - ARTIST'S OBJECT BOOKS
"On occasion, in addition to my lost wax art bronzes and my art papers, driven by my passion
for writing, I create low reliefs paper sheets by hand pressing watercolour art paper pulp in
hollow forms, where as graffiti, amongst glyptic drawings, I scores fragments of my thoughts and
then I assemble these incused rupestral paper sheets in sculptor's manuscripts or artist book-objects." RG
Rupestrial glyphs of ingraved polyptychtic epigraphs
These sculptors' manuscripts are hand pressed in a few rare numbered specimens to reach a bookworm
collector clientele who recognizes in his polyptych "Views and Sayings"as a contemporary form of
epigraphic art in the sense of a book genesis. Two sculptor's manuscripts were acquired by the
National Library of Canada. His sculptor's manuscript or artist book-object"So goes the Cosmos,
cosmological sequences and manuscripts" is his last work in this spirit.
DETAILLED ARTISTIC STATEMENT
Rusdi Genest assembles sculptures in a spontaneous manner of creating art which is similar to the
automatist's way of proceeding. Thusly he constructs in a random manner as he goes along gesture by gesture,
a fragment here, another there, following the structural overlaps that he notices as the composition reveals
itself to him. Often passing from one sculpture in progress to another while he lets his creative intuitions
lead the formal acuity of each one's framework in relation with his oncoming visions.
Exception made for vague sketches drawn from the sketchbooks where he scribbles his inspirations and visions,
Genest begins without a prior work plan, usually starting either from a human or animal form spontaneously modeled
in wax or clay; from some fragment or another that catches his interest amongst the jumble of his modeled waxes
huddled together within his cabarets; from one of the imprints of found objects that appear in the middle of
cluttered piles staked in his storage drawers.
Genest does not foresee what appearance a work will have once completed. He acknowledges being sometimes as much
surprised by the random juxtapositions or the unexpected compilations as by the numerous postures and elusive attitudes
which come about together in the building of his sculptures.
Once a sculpture is finished, by a schematic creativity relationship, its title comes to him or even sometimes assails
him to explain itself, recounting a statement, an interpretation which combines a metaphoric significance between the
work and its title.
Genest tells us that although the initial sculptural set up composition takes place relatively quickly, it is the wax
welding and sizing process that links all the fragments, sections, imprints and textures the ones to the others to ensure
the solidity of the total assemblages that is a very tedious task, particularly complex, delicate and slow as to take hours
which is necessary to palliate to the precariousness's of lost wax casting his sculptures in bronze.