Arman

Arman's ‘accumulations’ were more than just collections of objects; they were statements about society and excess. By amassing identical items – be they violins, gas masks, or clocks – Arman forced viewers to confront the excess of consumer culture. These works challenged the notion of individuality in mass production and questioned the value we assign to material possessions. Arman's accumulations also explored the concept of seriality, a theme that resonated with the repetitive nature of industrial production and the standardisation of modern life.

Arman's Colères (rages) and Coupes (cuts) series represented a radical approach to art-making. By destroying objects – smashing them, cutting them apart, or burning them – and then reassembling the pieces, Arman created new forms from destruction. This process evokes of violence, transformation, and rebirth. These works also reflected anxieties about nuclear destruction.

Arman’s method of creation was meticulously planned and systematic. From childhood through art school and into his career, he sketched and diagrammed nearly all his works before making them, ensuring that nothing was left to chance. His sketches and notes, often compared to musical scores, allowed him to execute his pieces with precision. His notebooks, filled with drawings and ideas, offer a glimpse into his artistic process, illustrating how his artworks are carefully calculated. This thorough approach can be visually traced through his 1977 lithograph, Gothic, which meticulously depicts scissors, in black and red ink, forming a rhythmic and densely packed composition. It was through his preparatory drawings that Arman developed a style that explored the role of objects in modern society.