Grégoire Vigneron
Belgium
Bookbinder artist and creator of self-supporting paper structures. His work is distinguished by a radical approach: creating entirely self-supporting artworks and structures, where paper is simultaneously the material, the object, and the structure.
Inspired by the principles of structural packaging, he develops assembly techniques without glue or additional materials, where cutting and assembly alone suffice to bring solid and poetic forms to life. His creations reflect a quest for balance between technical rigor and aesthetic freedom.
Among his innovations is the Paperoko technique, originally designed as a self-supporting binding system, which immediately established itself as a distinct artistic signature. In the same spirit, there is “Korkarto,” a new assembly composed of heart-shaped hooks.
These structures give rise to light, organic compositions evoking adornments, ritual headdresses, or complex suspensions. The interplay of color, sometimes contrasting to reveal the intricacies of assembly, sometimes monochromatic to emphasize the richness of the cuts, heightens the sculptural quality of his works.
The names of his techniques, borrowed from Esperanto, reflect a utopian vision of art: a universal language fostering connections, hope, and peace among peoples.
His work, situated at the intersection of art, design, and craftsmanship, invites viewers to rethink the possibilities of paper and rediscover the poetry of self-supporting structures.
Inspired by the principles of structural packaging, he develops assembly techniques without glue or additional materials, where cutting and assembly alone suffice to bring solid and poetic forms to life. His creations reflect a quest for balance between technical rigor and aesthetic freedom.
Among his innovations is the Paperoko technique, originally designed as a self-supporting binding system, which immediately established itself as a distinct artistic signature. In the same spirit, there is “Korkarto,” a new assembly composed of heart-shaped hooks.
These structures give rise to light, organic compositions evoking adornments, ritual headdresses, or complex suspensions. The interplay of color, sometimes contrasting to reveal the intricacies of assembly, sometimes monochromatic to emphasize the richness of the cuts, heightens the sculptural quality of his works.
The names of his techniques, borrowed from Esperanto, reflect a utopian vision of art: a universal language fostering connections, hope, and peace among peoples.
His work, situated at the intersection of art, design, and craftsmanship, invites viewers to rethink the possibilities of paper and rediscover the poetry of self-supporting structures.
