The artistic work of Michel Tombroff can be interpreted as an attempt to resuscitate the link between concept and subjectivity, a link which has been neglected – or even obliterated according to him – since the conceptual rupture of the sixties.

In other words, he postulates that the primacy of the concept is not incompatible with aesthetics, that it is possible to create a purely conceptual work that leaves ample room for subjective experience. His practice can be interpreted as a double attempt at reconciling the modern and the postmodern: by offering modern objects readable in a postmodern world, and vice versa, by showing how postmodern creations can take advantage of a modern heritage.

To achieve these goals, he uses mathematics, logic and philosophy, giving form to idealities such as numbers, set theory and infinity, and exploring the dialectics of idealism, materialism and realism. He engages with key thinkers and artists of the 20th century, including mathematicians such as Georg Cantor, Kurt Gödel and Paul Cohen, philosophers such as Martin Heidegger, Gilles Deleuze and Alain Badiou, and artists such as Tony Smith, Robert Smithson and Carl André, key figures in the canons of modernity and the advent of the postmodern turn.