Jean Luc Cornec

Born 1955 in Lannilis, France. Lives and works in Heidel­berg, Germany



Metal, mesh wire, used telephones, telephone receivers and telephone cables

My working process consists of a playful combination of elements, objects, words and letter – a play with concepts and perception. At first sight, the grey telephones, today out of use, don’t have anything to do with the head of a sheep. I cannot say when and how this association came to me; it only works when combining the telephone with the cables as wool, the earphones as feet and the individualistic expressions of the different sheep. Even if I was afraid of the overly humorous aspect of my initial idea, I continued shaping it and finally I was surprised to realize that during the artistic process new options had emerged; for instance, I had never thought that the ringing of the phone could remind of the “baa” of the sheep.

The idea was, in the beginning, formal-aesthetic, but open for different entries, other approaches or possible interpretations. The sheep is a kind of archetype, with various significations in different religions, languages and cultures. When Dolly was born in 1996, the work was charged with another meaning; in a way, the work was “reloaded” on different levels. It became a comment on the relation between the original and the copy. When I realized that the film Blade runner was based on the novel Do Androids Dream of Electric Sheep? by Philipp K. Dick, the installation became a materialization of the ecological question. And finally, thinking about Wikileaks and the NSA scandal, the accent is put on the importance of communication and interconnectedness.

Artist Statement

My artistic approach is merely playful and the result of it is often humorous. I combine elements in a new way and fit elements together like puzzle pieces. I create and counterbalance pairs and opposite pairs and I sculpturally transpose the change of perspective between positive and negative.