Pierre Clément was born in 1981 in France. He lives and works in Paris.

After he graduated from the ESA des Pyrénées, Pierre Clément received various prizes and grants, including in 2013 and 2016 the “Aide individuelle à la création” – a regional aid program – offered by the DRAC Languedoc-Roussillon-Midi-Pyrénées. In 2014, he was selected for the 59th edition of Salon de Montrouge and the next year he was the recipient of the Mezzanine Sud Prize (Les Abattoirs, FRAC Midi-Pyrénées). In 2017, while he was a resident at Lieu Commun (Toulouse, France), he was a finalist for the Grand Prix Occitanie d’Art Contemporain and was also selected that same year at the 67th edition of Jeune Création (the exhibition took place in July 2017 at the Thaddeus Ropac Gallery in Pantin).
His recent personal exhibitions are: “Keep your master channel sync’d with your master channel“, at Maison Salvan (in Labège, France) in 2017; “Just the same infinite” at Ultrastudio (in Pescara, Italy) in 2016; “Pttrn/Ptnt“ at Les Abattoirs / FRAC Midi-Pyrénées (in Toulouse, France) and “Transcom Primitive” at the XPO Gallery (in Paris, France), an exhibition curated by Marianne Derrien in 2015. He also took part in various group and duo exhibitions, such as “run, run, run” at the Villa Arson (in Nice, France), “Higher state of consciousness” at the Cité Internationale des arts de Montmartre (in Paris), “Corazon” at BB5000 STUDIO (in Milan, Italy) en 2016; “Temporary arrangement” at Glassbox (in Paris) and “We wanted to be better & ended up being happy” at the Joseph Tang Gallery (in Paris), in 2015.

Between sense and nonsense, Pierre Clément continues his journey through the origins of the image, its meaning and its constitution. With limited means and simplified gestures, Pierre Clément puts together signs made out of machined objects, exposing our visual overconsumption. From the images found on Google Images to the industrial designs “locked” by intellectual property, Pierre Clément creates decoys by falsifying materials through the reappropriation of both manual and cutting-edge techniques. His work therefore tricks the eye into a possible disappointment. His pieces, in this dual movement between seduction and repulsion, sabotage and disturb our conformed – or even standardised and formatted – visions. With gestures that question sculpture, design and technologies, Pierre Clément exposes the weaknesses of a functioning and a system in which errors are not human, giving therefore to each of these forms another story full of fictions and new symbolisms.
(Marianne Derrien) 

Image : Pierre Clément, Silkroads, 2017