le mouvement intime des choses

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• published: 26 Aug 2012
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SYNOPSIS As a French artist, architect, dedicated to both writing and the visual arts, my work feeds on these different spaces: poetry, 3D architecture, sound… My recent artistic work combines writing and painting and builds on the tensions between what is said and what is shown. Words are my sketchbook, the point of departure for the line to be drawn. The movie “Le mouvement intime des choses” is an alphabetical score, where every “sequence” stroke provides a stimulating accent for the words. Through the architecture white line, the word is inevitably bent; in its visual life it transforms itself; it can be cut out and reveals layers of unique new meanings. Theses architecture lines, are news one, where words are flying on an 3D exercise book I would like to display theses words, in a space, with all the conflicts, contradictions, but also the points of convergence which make up it. Combining different languages, 3D, architecture, sound, and scripts allows me to show the wavering uncertainty of sounds and meanings, but also the fertility of their encounter, through the coincidences of meetings, new time of viewing. BIOGRAPHY ARTIST STATMENT The painting lies within the paintbrush, seeking to come out of itself. It looks for the ebb, the flow and the tide; the ribbon, the physiognomy or the face; the coherence through which the line holds to the canvas – like the one which makes the wave in the middle of the sea; the tension which underlies every fold of the drape; the asymptotes of man and of the world in a painting always started anew. What i’m interested in, is not the movement of the idea, from its plan to its realisation, but the concordance of every single and singular gesture – which, however thought through, carries its debt to the arbitrary; not to the plan, not to its prior design, but the to intuition of things and their immanent organisation, and of their profound coherence. My attention is always on the detail, on the imperceptible quiver, on the as yet unseen connection. Around the curve of the ribbon everything connects and resonates: the centrifugal path of a rain drop, descending onto the edge of an umbrella, the gesture of the lithographer grounding his stone to let images emerge, the sponge which every day gets wiped across the table or mirror. I like to think of the obscure origin of the wind that brushes us: a flow, a swirling current which connects us to the whole; Tibetan prayer reels spreading their prayers to the wind, or further still the child hanging in a tree in Giotto’s Entry into Jerusalem. And it is no coincidence if i spent so many hours trembling in front of the canvases of the Tuscan master. The untrained eye might, in his paintings, be hit by a certain static aspect, a certain rigidity in the organisation, but as i can explain, the straight lines which seem to hold his canvas, are in reality only curves, meetings, brushings of fabrics or canvases, like branches which the painter has made to tremble under the weight of the child. And it is these curves which connect man and the world. Giotto: “the drape is clever, alive, human”, one wants to sit in his workshop and watch him paint, to be one of his apprentices, to draw his architecture. Today, inspired as much by the old masters as our capitals of hypermodernity, of Berlin and New York, where artists like Robert Frank, Ed Rusha, Bernard Frize and Sally Man have most recently made me shudder –I’m continuing my search in a double direction which may seem intellectually contradictory, but which is easily resolved by the brush: follow an ever growing complexity of the work whilst following its purity. And so i doesn’t think twice about working with different mediums; the flow finds its way into ever brighter colours, onto photographs from private archives, or taken from everyday life. One watches as the flow comes to animate groups of people, painted, wearing sports gear and “nike” shoes. Sometimes the flow itself generates and fathers figures, faces and characters, or becomes explosion, bloody urge scarring a figurative group. The flow then becomes violent creation, a force of expression and repetition. But in the same instant, the threads are concentrated, the wholeness of the movement is purified and the paintings, aerial, at the threshold of the figurative, emit tones so sereine, one wouild think them from another world, but which are none other than those of the encounter [coming together, meeting]. EXHIBITION LIST CV Born the 5/8/69, in Nice. EDUCATION MASTER IN ARCHITECTURE, DPLG degree. Ecole d'architecture la Villette, Paris (1997) PERSONAL EXHIBITIONS - FLOW. Kaleidoskop Gallery, Berlin (2012) - AND. My private art room gallery, Paris (2011) - FACES. Le lièvre de mars. Marseille (2011) - SHADOW’S CONTRACT. Kaleidoskop Gallery, Berlin (2010) - GAME OVER. Bergstübl, Berlin (2009) - TREES. The Chapel, Igliano, Italy (2008) - Tsenka Gallery, Paris (2004) - ARTSHAK