Nicolas Todd and Damien Fitch have each experienced different lives. Neither divulges much of the first twenty-five years of his existence...
Nicolas Todd occasionally reminisces about New York memories, the hours spent at the Museum of Natural History, what he read at that time, his thoughts about time and space, the months spent under the sun of Western stares and the torments of a job he didn’t like but that gave him freedom.
Another figure altogether is Damien Fitch, whose manners have been too polished over the years. If one insists, one learns he was a musician, that he unenthusiastically paced the corridors of law schools and had to tolerate ties and dark suits.
Nicolas Todd claims that the Arts reached him via Case study houses, Damien Fitch via Ie Vaux and Ie Notre. If neither of the two admits – nearly with regret - any real failures, they intimate having been subject to lengthy uncertainties.
As is often the case, it was bedazzlement that led them to the path they were more or less consciously seeking: nearly simultaneously, both in New York, Nicolas Todd discovered the major paintings of Jean-Michel Basquiat and Damien Fitch those of Cy Twombly. From that moment, they avidly launched into reading books and visiting museums. During a chance meeting, an art collector presented one to the other. Their mutual attraction to work of an artistic nature was a constant preoccupation between them, although initially, they only planned to do research separately. The trials and errors of one crossed the endeavours of the other; they realized that alone they would not get anywhere and decided to combine their respective lacks and assets.
It’s during one of their rare explanations about their work and partnership that they reveal a constant feature: they do not consider themselves as an artistic duo, but together, just manage to be one. Their combined amount of time, ideas and efforts produces work over which neither has supremacy and that contains, inextricably and irresistibly mixed, traces of their obsessions, requirements and convictions. Light is the material, rather virgin and unrecognized, that they really appreciate and know well. Due to their format, their 'works' are more like paintings, but their materials are not. They don’t meet traditional definitions of the term 'sculpture', and it is neither a matter of 'installations'. For some, the use of light bulbs makes them 'lighting', but none of these words is suitable for them, nor apply to their… 'works'.
Followed and already recognized by top-notch collectors, who place their pieces on their walls next to those of major signatures, they pursue an essential path, marked by stunning maturity.'