Gilles Brusset creates ephemeral or perennial artistic projects through public or institutional commissions. He works in Paris in the Belleville district and, in conjunction with his artistic activity, conducts master works in gardens and public spaces. Graduated from the Schools of Architecture of Paris Belleville and Lanscape of Versailles, he creates works that articulate differentiated fields (landscapes, architectures, town planning, engineering).
Art in the landscape: The physical world is envisaged as a vast sculpture. The gaze of observers is engaged, placed at the center of a sensitive world revealed and interpreted from the angle of specific view of the artist. Each place is a potential work of art in dormancy, awaiting revelation. Works are not objects in themselves, but rather instruments of optics that give the framework of the physical world to be read.
Works in situ : The works deployed in the landscapes are specific to the situation, the history and the symbolism of the places. The use of metal profiles for “open sculpture” in social housing in Gennevilliers, the crude stone crust by the sculpture “Las piedras del cielo” for the artistic 1% of the Pablo Neruda school group in Poitiers, Asphalt and grass for the landscape sculpture “Enfance du pli” on a public square in Meyrin, Switzerland, each time reflects the specificities of the context for in situ projects.
Art in urban planning : Integrated in the pre-operational phase, works of art anticipate and prefigure. In the manner of a model scale 01, they carry out constructions of architectural and landscape intentions, elements of programs or principles of development.
The “flying stones” are suspended in a private maquis garden, on the west coast of Corsica. 33 elements for a sculpture-landscape on the Mediterranean horizon. The pebbles, rolled by the sea, have gone up the coast and rise towards the sky. Arranged on the sky like musical notes, they punctuate the space with their rounded densities. During strong winds, they move insubstantially and collide in music. The oscillation of the stones makes this work a hypnotic instrument. It offers long hours of contemplation, listening to conversations: the stones discuss day and night. The Work is an optical instrument that give the framework of the physical world to be read. From stone to stone, the gaze is led from the interior of the garden to the horizons of the Mediterranean sea.
L'enfance du pli
The Fold’s childhood is a sculpture-landscape, monumental and elongated in the land of the place called Boudines. It takes part to a surface of soil of 2600m². Its forms are an interpretation of the force that spawned landscapes of the Jura massif (Jura folds). The principle of the sculpture-landscape of the fold’s childhood is that of the inscription of one landscape in another. On the one hand, the site is involved in its physical dimension, and on the other hand in its geographical dimension at the territorial scale. Existing site features (straight lines) are exacerbated by the contrasting effect of the inscription of the sculpture-landscape (curves).There are games of space and time: from the heights, one can see the Fold’s childhood as a picture evocative of the folded and undulating landscapes of the Jura, a model imaginary site of the mountains lying. It is a set of shapes that can also be traveled, paced. The spatiality of the fold offers the children a physical experience of the curve and a variety of situation differentiated in the space of the pleated floor. The fold’s childhood is a work of art carved in the field of Meyrin-park. Located between the park and the buildings, between architecture and landscape, it questions the status of art in public space and landscape as a work of art. Designed with the tools of the landscaper, the work implicitly poses the question of the part of creation that can involve the profession of landscaper. Is the landscape architect an artist?
Le Troisième Train
The Armistice glade, in the Forest of Compiègne, is one of the most significant site of World War One. The Armistice was signed there, on the 11th of november 1918, in a rail coach, today worldwide known. Impacted by the brutality of the 20’s century wars, the region Hauts de France chose to celebrate tomorrow’s heritage and affirm its resilience in landscape art by creating an itinerary on the sites of memory of the Great War : the gardens of peace | Hauts-de-France. The garden of the third train, designed by the landscaper Marc Blume, the artist Gilles Brusset and the architect Francesca Liggieri, is a Franco-German project taking place around the allee joining the parking to the glade, making it a memorable walk before discovering the location of the Armistice. Inside the undergrowth, the three designers thought about a symbolic and plastic parallel between the trails of the trenches of the Great War and the shapes drawed by the filaments of the mycelian network. Following this pattern, the paths of the garden make their way windingly through the foliage, creating rounded and planted areas where different essences of the forest can be seen. Adding itself to this maze leading to the discovery of the undergrowth, an elongated bench crosses the garden and invites contemplation. The garden of the third train is an undergrowth garden which embraces the vastness of humus. It takes on the perception of the visitors through their movement in space and encourage the discovery of a peacefull place by offering new, wringely and random paths. He takes place like a third component between the trees and the people : a link that associates contemplation, meditation and celebration of life.