In his work, Erwan Mahéo (°1968) makes alternate use of sculptures, paintings, videos, photos, collages and patchwork. This eclectic use of media underlines the fact that his work is not dependent on a predefined strategy, but floats on the river of life, meandering between forms of expression and ideas.
His work is a construction made from his numerosous activities.
It has been presented in various institutions : La Grandeur Inconnue, Domaine de Kerguéhennec (F.1993) ; Laboratorium, Antwerpen Open (1999) ; Nameless Swirls, an Unfolding in Presence, Van Abbemuseum (Nl. 2003) ; Mathématiques, Fri-Art, Fribourg (Ch. 2004) ; Track, Gent (2012) ; Novelty Ltd. Fondation d’entreprise Hermès, La Verrière, Brussels (2017) and in galleries : Unknown Places, Tim Van Laere gallery, Antwerp (2005) ; Dispersion, Galerie Catherine Bastide, Brussels (2008) ; La Grande Image, Galerie Vidal Cuglietta, Brussels (2011)…
He taught sculpture at La Cambre school of visual art between 2009 and 2015. During this period he conducted several projects such as the journal SWIM (2012), and exhibitions like Home Invasion (2015), Erewhon (2015)…
Between 2003 and 2012 he fonded and directed an Artist in Residence program called Le Centre du Monde on the island of Belle-ile-en-Mer (F). The collection which grew from this project was given to the FRAC Bretagne in 2014. The book Le Centre du Monde (Description of an invisible sculpture) was published on this occasion.
Between 2013 and 2019 he co-fonded and co-directed the editorial project Herman Byrd (with Sébastien Reuzé).
In a way, Erwan Maheo’s (b. 1968, France) work is always retrospective. Steeped in the influences of such modernist figures as El Lissitzsky, Le Courbusier, Lucio Fontana, or Helio Oiticia, Maheo not only makes artworks that bear their imprint, but he also often reproduces the image of at least one of his previous artworks in the one that come after it, almost ad infinitum. An example: any one of his tapestry works might bear the embroidered image of several earlier artworks (an odd-ball remake of a Mies van der Rohe daybed or a tower of lampshades modeled on Brancusi’s Endless Column, for instance) as well as the abstract floor plans of the exhibition in which the works had first been shown. The tapestry might, in turn, be reproduced in a photographic collage that is, in turn, reproduced in a large-scale curtain, sending this dizzying referential mise-en-abyme back upon itself.