In a recent essay on Thierry Delva’s work, Colleen Wholstenholme wrote:
In addition to carving images out of refrigerator doors, Delva has used these domestic appliances in lieu of human bodies to evoke the romantic interaction of two people. In his piece The Kiss, 2005, two refrigerators with their doors removed and insides lined up are facing each other with their emancipated cool air mixing. When conditions are right condensation is seen as a mist gently descending from the heads of these bodies again bringing temperature to light. The phenomenological products of temperature and the metaphors of hot and cold are Delva's means of recalling the fact that our actions often affect the lives of others. For him the poetry in this work resides in the cooling and atmospheric heating that forces these devices to interact causing their compressors to turn on and off in a kind of electrical dance. The fridges are suggestive of a more contemporary version of the sculptural block. In his The Kiss the two large block-like forms face each other and interact in a barely visible atmospheric exchange. In using the format of The Kiss, a trope, he has taken his cue from Brancusi who in turn took his from Rodin and so on.
Thierry Delva has exhibited widely in Canada and the United States including recently: Art Gallery of Nova Scotia; The National Gallery of Canada; Art Gallery of Nova Scotia; Harbourfront, Toronto; Museum London; Art Gallery of Windsor; RAW, Hartford CT; Bass Museum of Art, Miami.
Delva’s work is included in the public collections of the Art Gallery of Nova Scotia, the National Gallery of Canada and the Art Bank of Nova Scotia. His work has been reviewed in among others: Sculpture, Espace, C International Contemporary’ Canadian Art.
1993 MFA NSCAD University
Sculpture courses offered by Thierry Delva
Science into Art