Thibault Pellant’s artistic approach aims to solve everything by mechanical means always enrished by the imagination of a kid of the 1990s (from Lynch to Wenders and Ballard).
In a kind of wacky logic, he’s trying to iron his shirt by rolling on it with his car, to wash this very same vehicle with the spray of an ocean storm or to build a dirty bomb in the pure minimal aesthetic tradition.

He found the starting point of his personal exhibition at Passerelle Center d'art contemporain on the port of Brest. As he went fishing, he observes, fascinated, the death of squids in his bucket. The squids have the peculiarity of manifesting their agony by a strange pigment crisis. All the skin seems to blink in the image of scintillating organic pixels. From this observation result two videos as captivating as terrible that the artist proposes on the floor like two minimal basins. Way beyond the sole observation, Thibault Pellant surrounds the decadence of the animal with what could be seen as the pictorial translation of the phenomenon.
With a welding bow, he scarified painted steel plates. Once the painted surfaces are burned by the welding, numerous asperities appear. And the plates become like strange rosette stones that one would gladly imagine in a contemporary pursuit of Dune.