The other side of you and me

Vane, Newcastle, UK , 2015

Publication Date: 8th May 2015, London

Source: The Guardian Newspaper

Writer: Robert Casselton Clark

While Simon Le Ruez once characterised his work as “what goes on behind the net curtains”, he evokes an even more intimate concealment with the title of this show, The Other Side Of You And Me. Accordingly, a quite gorgeous sensuality now modulates his erotic transgression with something more elusive. What you are first struck with in this specially staged installation is a scenario of pure sculptural charm. Entanglements of gaily coloured cellophane, silver foil, copper sheeting and polished black Plexiglas are composed with deceptive spontaneity. Despite an enduring air of disquiet, the cumulative effect, choreographed by the sculptor’s exceptional aesthetic sensitivity, is one of celebration. It’s lovely, deeply poignant stuff.

Deadpan Exchange VIII

Casa Maauad, Mexico city, Mexico , 2014

Publication Date: 30th April 2014, an Interface

Source: an Interface

Writer: Victoria Lucas

'Simon Le Ruez draws directly on the performative stance of the figure depicted in Milda Zabarauskaitė’s untitled photograph from 2012. The positioning of the hand, which rests mindfully against the subject’s hip, was for Le Ruez reminiscent of the poise and elegance of a Flamenco dancer or Matador. Interested in the ‘evocation of balance, movement, ceremony and celebration’, Le Ruez presents the spectator with an assemblage of mixed media in which ‘refined and colour coded structures collide with pictorial imagery’. When visiting Le Ruez in his studio to view Torero (2013) for the first time, I was struck by the elegance of this work. Playfully constructed using an eclectic array of materials and media, the impassive gaze of the female matador from underneath a beaded surface immediately creates a feeling of discord between the violent nature of bull fighting and the beauty and grace of the spectacle. The matador is after all highly skilled in deadpan delivery.'

Excerpt from review which can be read in full by clickling on the source link above

This is where we meet

Vane, Newcastle, UK, 2011

Publication Date: 29th October 2011, London, UK

Source: The Guardian Newspaper

Writer: Robert Clark

Simon Le Ruez considerably extends his poignant creative vocabulary with this show of recent sculptures, installations and paintings. Le Ruez’s sculptural scenarios have all along evoked moments of psychological suspense, with the deceptive reassurance of domestic props subtly undermined by hints of a decidedly unsavory eroticism. Le Ruez’s ability to lead the viewer on with aesthetic charms and a painstaking technical finesse is no way diminished, yet these recent works carry a far more bewildering undertone of enigmatic unease. Junk-shop postcards have been doctored to leave inconclusive suspicions of moody and momentous goings-on behind the scenery. Screwed-up paper scraps are caught up in tense ghost-town constructions. Themes are suggested with such subtlety that one is left wondering whether the story is all made up in one’s own multi-track mind. One no longer knows for sure what on earth is inferred. Le Ruez gets better with each show.

Unidentified Friends

Cube Gallery, Manchester, UK, 2010

Publication Date: 30th November 2010, Manchester, UK

Source: creativetourist.com

Writer: Susie Stubbs

Unidentified flying objects. Simon Le Ruez, the Sheffield and Berlin-based sculptor, begins a prize-winning residency at CUBE this week with a new solo exhibition. Le Ruez’s work starts with the familiar – the buildings, streets and people that populate the city – but soon spirals into an unsettling mish-mash of drawing, video and photography. It seems that the artist is intent on playing with gallery visitors: he deliberately obscures the faces of the strangers he photographs, for example, in odd and slightly surreal ways. This is an exhibition that is worth a look, not least as it demonstrates CUBE’s quiet quest to stage challenging, thought-provoking shows that straddle art, architecture and design. Unidentified Friends, CUBE, 19 November - 22 January 2011.

Unidentified Friends

Cube Gallery, Manchester, UK, 2010

Publication Date: 27th November 2010, London, UK

Source: The Guardian Newspaper

Writer: Robert Clark

Referring to his work’s aura of seductively suspended disbelief, Simon Le Ruez quotes a line from the surrealist artist Claude Cahun “Dear Friend … It does not look true but it is true.” Le Ruez sets up little architectural misalignments that reveal cryptic scenarios. His recent work might be getting more and more deceptively and adventurously simple in construction, yet the air of unease continues to expand. One suspects his fragments of imagery are somehow something other than they appear, are really leading us somewhere else. Photographic slides capture pedestrians, their heads obscured by a mysterious grey globe. Clustered drapes conceal God knows what. Sculptural door and window frames enable us to look out onto variations of nothing and nowhere. Throughout it all Le Ruez makes it real through his meticulous command of compositional tension, the way the stage is set for an unending suspense that is quietly thrilling.