A good title cannot make up for a bad work 

      Sébastien Delire's work falls within the scope of a systematic approach. To chose a known microcosm ( the visual art environment) and to take the universal substance from it. First of all, his work is based on a method, given to him the freedom of a clinical detachment in a universe where he is part and critic. Thereby, thanks to uncluttered and immediate works of art, he questions essential art thems : the communicativ dimension of works, its temporal and spatial position, its place and role, the players' ones and his own.

      The method

      By choice, Sébastien Delire confronts himself with the environment he knows the best, the visual art one's, putting into practice, in a fair system, a simple method: he observes, analyzes, deflects and denounces. Thus, he streches to use instruments proper to scientific study, analyzing a gallery's yield and popularity with the help of a counter and graphs in Counter and Graph. The analytic method he develops doesn't spare any link of the chain. Everybody is crushed by his tolls, distance and cynicism, with an almost cruel dispassion: the artist shoe shine (Shoeshine), the narcissistic collector (Untitled), the sententious and trading gallerist (Punition), the verbose critic (Receive a free art work) and the mass viewer, solicited in each works. Through this waltz of conceits,  Sébastien Delire's work interrogates more deeply about the real nature of a piece of art  and about the human being and the way he behaves into a microcosm. In the style of greek philosophers, he invits the viewer to answer the questions he raises, opening a dialog where the work is only a pretext.

      The communication

 - Loss of the sense

      Using the absurd, like Ionesco did with The Bald Soprano, some works, outwardly whimsical, reveal the absurdity and vacuity of dialogs into the artistic background. In Showcase, the work's  « mediatory » dimension is limited to pragmatic exchanges between the different players. He denounces the ordinary preoccupations of the art's protagists, environment unfairly turned into a myth by the mass, as attested by the noise of vain conversation during an opening in Contemporary Sound. The work totaly involve the viewer, whom Sebastien Delire demands to get the same hindsight and distance he applies to himself, trying with this approach to bring back sense and depth to a background seeking for some.

- Work's communicativ role   

      Each work possesses its own interrogation.It talks only about itself and how it belongs to a background. Using the self-questionning in each new creation, Sebastien Delire deflects the work's communicativ role.  In Receive a free art work, he commutes a signified he estimates useless (articles about him, which he never keeps) into a play signifying (a work of art created by the articles' readers). His works assign themselves as eloquent object. Never falling into the ready-made, the object pointed up, with almost any interference of the artist, makes sense immediatly. It shows patently what it denounces, without using the medium of the representation. Beggar,  authentic beggar's beaker gets instantaneously sense in its context and thereby shows the importance of space and time in Sebastien Delire's work.

      Time and space 

      At the hands of the horse sense of Sebastien Delire's works, the understanding is immediate, in real time. However the creation time brings a special dimension to his works. For Punition, the artist spends several hours scribbling with much effort the same sentensious sentence, symbolism of  creation's asceticism. A work has to be earned, needs to be delivered by the artist and for the viewer. « I'll come back in 10 min » says the notice lying on the shoe polish kit of Shoeshine,  10 flexible minutes during the one the passer by is in the same temporality as the artist. In Counter and Graph time contributes to the work. This one never remains fixed, because its copies the exhibition temporality. The approach is diffeent again in Contemporary Sound. The point here is to recreate with the sound – the hubbub of an opening a background, a place. This space, Sébastien Delire makes light work of it. Indeed by the placing in space he gives to miscellanious objects their piece of art status. Showcase is composed by a single magnetic board which becomes a real work when it's hanged in a gallery or on a collector's wall. For Punition, the exhibition space materializes the creation time and gives to the dunce exercise a superior dimension. Artist of a background, Sébastien Delire has fun with all the parameters surrounding him, as he has fun with the mirrors he raises through each of his works.

       Duality

      Sebastien Delire looks at oneself, looks at ourselves. He is, at the same time, a creator and an objects escort. He gathers in his direct environment the initial material, reveals few leads, but leaves it to the viewer to establish this iconoclast accumulation to the rank of work of art. A newspaper article becomes an origami certified by the artist, but created by a third party in Receive a free art work. Thus he scratches the omnipotent image of the artist creator. This artist who polishes shoes in Shoeshine, stooping to coaxing. This artist begging acknowledgement, success and money with his beaker in Beggar.  But if « I is/and his double », if he skins his own condition, the mirror he raises to the other protagonists and to the work itself is not more tender. The authentic beggar's beaker is mutated in a luxurious object (Beggar).  The gallerist isn't more than his counter  (Counter/Graph). The collector looks for his own name, confining himself in his self-satisfaction (Untitled). The critic sees his words muzzled in the entanglement of an esthetic folding (Receive a free art work). And the viewer is mistreated, involved in this universe often fooled, with just one way of salvation: thought, if he is able to. If the caricature of this background drawn by Sébastien Delire makes smile, humour is often the last refuge towards a cruel reality. So a smile not to cry. Yet , dispate these assessments, these denunciations, Sébastien Delire's work stays optimistic. Each of his creations shows the power of art, this art which is the only one able to transform negation, denunciation into a positiv act: a piece of art, a door opened on a positiv and constructiv thought. Which is the only one able to magnify reality. Like a Punition makes a bad student respectable.

       At last, if the method is simple, Sébastien Delire's overview shows a complex reality of an environment made by power struggles, financial stakes and creation, where everyone must always redefine his place. He questions the others and himself, trying to find the answers like everyone, skining his world only to take a new look at it.