Aeschbacher is considered a representative of the Nouveau Réaliste group active in Paris during the 1950-1960s. The Nouveaux Réalistes tended to see the world as an image from which they could take parts and incorporate them into their works. Inventors of the so-called décollage technique, the opposite of collage, the Nouveau Réalistes wanted to avoid what they regarded as the traps of figurative art. The creative disintegration of paper then involves careful reconstruction through a thoughtful choice of which papers to use for a composition. The pureness of expression of this technique lies in its translation of an imaginary world close to the heart of the artist. (text from Whitford Fine Art Gallery)
Helen Britton: “I am still roaming around finding things, hunting for and gathering materials, like I’ve been doing for years. No shores here though, a few river banks and also heaps of junk. Europe: the residue of matter, contemporary and otherwise is exotic and plentiful, piled up in the flea markets, spilling onto the streets out of shops, being broken or discarded and crunched back into the earth for centuries.
So from this mass of matter I assemble these collisions of design, these baroque, reduction resistant assemblages, these unruly aesthetic desires. There is a lot of pleasure here, and also a measure of aggression, seeking its meaning in the present, walking directly out of my lived experience. Making jewellery, I play out tensions and beautiful collisions in a small complex space, building miniature theatrical landscapes and emotional responses to the material world.”