Romjy builds his works like Henry David Thoreau his cabin: by breaking a border too hermetic to the dialogues between nature and culture. It is through the chosen term of bidouillage that we enter the protean work of this artist, who is not burdened with either definition or mythology. In the era of the Anthropocene, the creative act can no longer be confused with the idea of ​​a demiurgic gesture. On the contrary, the artist is a handyman, a designer of reality, the one who builds his object with the means of his world. Raffia, waste and plastic rub shoulders with stone and wood from the forests of northern Quebec.

The artist draws his formal repertoire from poor practices. Outsider art, arte povera but also Oceanian art have nourished his universe and given him a concern for the expressiveness of the materials used. Recovering, recycling, patching up are acts that make it possible to repair the living that stands before us. In the tinkering, the artist’s gesture is minimal, it acts as a subversion of the existing reality. Romjy’s works mediate our connection to the environment; in the incongruous assemblage of found elements appear anthropomorphic figures. The free and improvised associations they produce are reminiscent of pareidolia, a psychic act that consists of identifying familiar shapes in the clouds, which Romjy seems to use as a method.

From this encounter between the traces of a post-industrial society and a sepulchral nature emerges an alarming observation, that of the ecological emergency. But the deliberately raw and naive aspect of these works calls for a completely different observation: that of a positivity of civil disobedience and the reappropriation by everyone of the public space through the creative act. Again, Thoreau is not far off.