Nicolas Lebrun was born in 1985 in Carpentras, France. A graduate of the École des Beaux-Arts in Montpellier, he has lived and worked in this city since his studies.

After an initial period (2009-2015) devoted to interactive installations questioning materiality and the work/viewer relationship, his practice evolved toward systematic series based on the use of rigorous creative protocols. These protocols allow his programs to exist as autonomous and accessible creations, unfolding in protean forms: digital/global, physical/local, or hybrid.

His work primarily explores human perception of space and techniques for representing depth on a two-dimensional plane. Through drawing as a means of formal research, he develops a recurring lexicon: stacked cubes evoking suprematist compositions, wireframe renderings with retro aesthetics, polygonal entanglements. This apparent formal poverty becomes the ground for constant reinvention of alteration processes.

Each project functions as a system endowed with an initial state and a transformation process that ultimately freezes the composition. These mutations take on an ambivalent aspect: they alter to construct or destroy, sometimes creating something new through destruction itself.

His recent research deepens the question of interdependent relationships between elements: how does a form define itself through its relationship to others, how do structural constraints generate new expressive possibilities? His projects explore phenomena of superposition, entanglement, and passage, where each element exists only by and in its relationship to the whole. This relational logic echoes natural systems where the emergence of complex properties arises from interaction between simple elements. Between textual modularity, geometric variations, and cyclical systems, his works interrogate thresholds, obstructions, and echoes that structure our perception of space and time.

I have, for about twenty years, produced with great obstinacy systematic works whose line of conduct has been to reduce my arbitrary decisions to a minimum. In order to limit my sensitivity as an ‘Artist’ I have suppressed composition, removed all interest in execution, and rigorously applied simple and obvious systems which can develop, either through actual chance or through the participation of the viewer.

– François Morellet, Du spectateur au spectateur ou l’art de déballer son pique-nique, 1971.