Texts

Artist Statement

My work begins with a direct, almost physical relationship with the world — earth, metal, weight, and resistance. But very quickly, a question imposed itself: is matter an end in itself… or simply a passage?

Since then, my work has not changed as much as it has deepened. What interests me is no longer the thing in itself, but the forces that pass through it.

The visible, in my work, is never autonomous. It is always traversed by what escapes it — by an invisible dimension that destabilizes form and prevents it from settling into a fixed meaning.

Light does not intervene here as a simple element of illumination, but as an active structural force. It reorganizes the internal relationships of the work, transforms its perception, and introduces a constant tension between density and disappearance, between weight and elevation.

The forms that emerge are never final. They exist within a continuous process of transformation — in a state of becoming rather than completion.

In this sense, the work does not present itself as an image, but as a field of experience. It does not invite the viewer to look, but to enter — to engage in a perceptual process where meaning is not given, but constructed.

The work is completed in this encounter.

The work of Younes Khourassani unfolds within a dynamic of transformation that interrogates matter, not as a formal end, but as an active field in which complex relationships between the visible and what exceeds it take shape. From the outset, his approach reflects a sharp awareness of the weight of mass and its memory, yet without remaining confined to it, progressively opening his practice toward a deeper reflection on the role of matter within the work.

In this perspective, matter does not present itself as an autonomous or self-sufficient element, but as a transitional medium, where forms appear as provisional states within a continuous process of transformation. The work is not constructed as a stable configuration, but as an open system, traversed by multiple levels of perception, and capable of being reactivated through the viewer's experience.

The turning point in his trajectory marks a pivotal moment, characterized by a shift in his relation to mass, now understood as a space of passage. This transformation does not operate as a rupture, but as an intensification, reconfiguring the plastic elements by orienting them toward a more abstract register, where the object relinquishes its centrality in favor of the tensions it reveals.

Within this framework, light assumes a structural function. It does not intervene as a mere visual element, but as an organizing force, capable of reconfiguring the internal relationships of the work. It does not simply render forms visible, but participates in defining the very conditions of their appearance, thus placing perception at the core of the artistic dispositif.

Khourassani's works develop within an unstable space, governed by dynamics of displacement and transformation, where forms never fully stabilize, but remain in a state of tension between appearance and disappearance. This instability opens the work to a multiplicity of readings and situates it within an experimental logic that moves beyond representation toward the construction of a perceptual experience.

Within this logic, the work is only completed through the involvement of the viewer, who is no longer considered a passive recipient, but an active agent in the construction of meaning. The space of the work thus becomes a site of experience, where matter, light, and perception articulate within an open system that resists any single or fixed interpretation.