The sculptural practice of Thomas Desloges (1994, Versailles) explores concepts surrounding interruption, technology, existentialism, the body, and humanity by playing with traditional notions of representation in art history.

Desloges’ work challenges traditional notions of sculpture through the incorporation of 3D printing, prompting viewers to question their understanding of the body, its relationship to technology, and what it means to be human in the digital age. Through his art, Desloges invites viewers to reflect on their own existence and the role of technology in shaping our understanding of ourselves and the world around us.

His degree show at Central Saint Martins comprised four fragmentary body sculptures, fabricated in a polymer commonly used in 3D printing but here hand applied. These web-like exoskeletons demand that the viewer focus solely on the superficial: his models have no ‘inner beauty’ on which to reflect. Invite, an incomplete body incorporated into a webbed plinth, is a study of the strength (or weakness) of the outer shell humans usually present to each other.

Desloges previously completed two Masters of Art degrees at La Sorbonne Université in Paris, before completing a Masters in Fine Art at Central Saint Martins.