Although Delphine Coindet’s works keep the identifiable shape of existing objects, they are the outcome—in the manner of logotype—of a formally spare graphic work, and a stylized and polished abstraction which she obtains by using computer-assisted drawing software. Their production is then left up to craftspeople and technicians. In a henceforth collective work process, the artist regards herself as a “designer”, leaving the author’s role to the spectator: “In the end, I would like the author to be the onlooker. My works would then be “potential”, kinds of machines for producing “relations””. Delphine Coindet embarked on her career by making Maisons (1997), six standard models of dwellings with general forms and colours in which she combined domestic materials with industrial materials such as plastics, combining the hard and the soft, the finished and the rough. These modules synthesize architectural archetypes from different eras, from the Middle Ages to the late 20th century. The artist does not so much construct objects as signs, the inspiration for which comes to her from abstract forms (cone, cylinder…), natural forms (pebble, cloud, fountain, flower…) and even commercial images or images referenced in the field of art history. Through their change of scale and function, Delphine Coindet’s works, which are at once sculptures, design objects and maquettes, shift towards an imagination giving onto new narratives.
Born in 1969 in Albertville, Delphine Coindet is a graduate of the Nantes School of Fine Arts and the Institute for Advanced Studies in Visual Arts in Paris. In 1998 she was awarded a residency at the National School of Fine Arts in Bourges, followed by an exhibition at the La Box Gallery. Her major exhibitions include Media City (2002) as part of the Seoul Biennale, Open for Play (2005) at the Zoo Galerie in Nantes, and several solo shows at the Evergreene Gallery in Geneva in 2006, 2008 and 2011.