Gilles Barbier arrived in France at the age of 20 and started a work he defines as fiction. The distance he thus establishes with the « intelligence of the work » grants him great mobility, quite embarrassing for someone who wants to simplify the whole into a coherent unit.
His œuvre, comprising the rigorous copy of the dictionary as background noise, meets bodies defined as clones, “mediagenic“ spaces with bedridden superheroes, but also the “pornosphere”, the “corrected worlds”, the “Lost in the landscape” or “Hidden under the stairs”…

Attentive to the way he can associate the corpus of his work to his theoretical reflexion, his “dwelling on”, Gilles Barbier feeds texts and reflective tools into his constant ow of drawings and images. Among these tools, we can find certain types of cheese, relay batons, bananas, worms, burrows, space tubes, Vaseline, atomic bomb, cosmetic, obesity…
In the end, Gilles Barbier’s work is a forest that still needs to be cleared out due to its profusion and luxuriance. Built on a system where everything is possible and where each work is only the visible version of all its potential versions, it inhabits multiple intertwined fluxes, the design of which figures the aesthetics of consumerism and consummation.