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Grosse teutay - Acrylique et techniques mixtes sur tissus tendu sur Shape canvas avec caisse americaine en forme et en couleur 2017 - 1236x132cm
Alëxone was born in 1976. He lives and works in Paris.
The work of Alëxone is marked by the indelible mark of graffiti. He made himself known at the beginning of the 90s with his "oediperies" which he realized then in the streets or elsewhere, which mix graffiti, refined calligraphy and elaborate in situ installation.
Alëxone has developed a very colorful phantasmagorical universe, inhabited by animals and strange characters whose extreme deformity he pushes. His work is meticulous and detailed, the result of regular and sustained work.
He paints mixed techniques on paper or cloth, the spectacle of a merged animal society, which makes the vox populi sound with a very demonstrative malice.
Alëxone paints acts of bravery. Between games of words and wit, in the hubbub of happy fictions and the whirlwind of colors spreads the spectacle of a fusion animal society, which makes the vox populi sound with a very demonstrative malice. If one quickly understands the hoarding of multiple referents among which graffiti, Byzantine art or comics, one will guess behind this Fantasia the depth of a specific balance, that of a labyrinthine frame against a background of playful rhetoric.
Bataille - Acrylique sur toile - 192x210cm de 1993
Born in Lyon in 1957 Lives and works in Paris.
At the dawn of the 1980s, he brought a new figurative painting. Present on the artistic scene in 1979, he is the creator of a movement that Ben called Figuration Libre, a movement regrouping Rémi Blanchard, François Boisrond, Robert Combas and Hervé Di Rosa.
Painting made of freedom, she talks about society, violence, sexuality, the suffering of people, their little joys, their smallness, their greatness ... She is inspired by the rock whose artist is an amateur end, popular images, childhood books, textbooks of all that makes a popular culture accessible to all. "I sometimes work abstractly by jets of painting, a kind of abstract expressionism." The figurative is the fun side, down to earth, initially it was a ridiculous reaction against the intellectual paintings of the middle of two worlds There are still some messages in my painting: at first it's a certain energy, I wanted to paint what I wanted, in the comics we are stuck by the characters, while in this painting I I am the art of the 70s. Me I come from the popular medium, I lived in free completely free, even by the format. "
"Robert Combas's painting is perpetually awake just like an organism, its work is in fact a constantly open structure and, for this reason, needs continually" food "to stay alive. such a phenomenon is not possible without the presence of the "other", that is to say the viewer, between the latter and the work of Combas is woven a relationship of complementarity where one needs "the other" And the image is the way used by Robert Combas to "provoke", to get a reaction from the viewer and to "invite" then, that is to say, to blow him: "Come and talk with me I want you tell the stupidity, the violence, the beauty, the hatred, the love, the seriousness and the funny, the logic and the absurd that surround our daily life ".
The artistic language does not stop at the borders of the intimate. On the contrary, it is from this "intimate" element that he will then go beyond it to become "social". A language that, at the same time, is a positive attitude; because beyond the scenes of violence or intense sexuality, beyond the combination image word (or phrase), the work of Robert Combas is above all a gesture. This gesture has no didactic basis (the subject is not the epicenter) but is a behavior that is thirsty to expand its field of action well beyond the closed boundaries of a language in the history of Art, to turn to what, until now, had been despised by the elite who dominated art during the 70s: children's drawings, fools, comics, music rock The child is in fact nothing more than a strategy: that of a painter who wants to enlarge the field of action of his iconography.
And it is the work of Robert Combas: the behavior of a painter, who, being in constant evolution, becomes an attitude. An attitude that is not content to be essentially "artistic" but also wants to be "social". That is to say, a critical attitude. "Robert Combas, Between freedom and provocation Demosthenes Davvetas, published in" DIALOGUEcatS ", Editions Au même titre.
Black and lies - Acrylique sur toile - 120x120cm
FenX is an urban artist born in 1974 in the Hauts-de-Seine (92).
He currently lives and works in France.
As a teenager, he is passionate about the street art movement: graffiti, hip hop, skateboarding. And it is in 1995 that he creates his pseudonym FenX (pronounce Phénix). Rebel, he starts graffiti to brave the forbidden.
Cradled by the culture of the 1980s (mangas, superheroes, comics) FenX gradually abandoned the walls and urban spots to focus mainly on canvas, medium that allows him to perpetuate his creation.
Artists such as Lichtenstein, Warhol and Crash's paintings fascinate him.
He revisits the masterpieces of the Pop Art movement, he transcribes urban energy on his canvases and introduces points of reflection on our society through hidden sentences, winky drawings or the title given to his composition.
FenX's works are exhibited in France and abroad (United States, Singapore, Holland, Hong Kong, Oslo).
European Fair St art Strasbourg Galerie Edgar
Train 2 - Acrylique sur toile - 150x150cm
Ivan Messac is a French painter born in Caen on March 19, 1948.
Younger than all the artists of the narrative figurative movement, he is nevertheless associated with this movement and exhibited in 1977 in particular at Mythologies daily at the Museum of Modern Art in the city of Paris.
Ivan Messac participates in many artistic events such as the Paris Biennial or Sigma de Bordeaux.
His works include inspirations from Pop Art, Italian Futurism, Mayakovsky, but also Jimi Hendrix and Hollywood icons.
RECENT PERSONAL EXHIBITIONS
2015 Words of Images, The Radar, Bayeux Tout s'laire, Stand Baudoin Lebon, Grand Palais, Art Paris Pepper Gallery, Antibes
2014 Street Immo, Space Commines, Paris 2 Time 2D, Gallery Baudoin Lebon, Paris Beware, Art to be Gallery, Lille
2013 From me to you, Villa Tamaris, La Seyne-sur-Mer *
2010 Homage to Mayakovsky, Elsa Triolet-Aragon House, Saint-Arnoult-en-Yveline * Zoo mio, JCM Billy Gallery, La Baule History of Time (White Night), Forney Library, Paris Narration (s), Mazel Gallery, Brussels, Belgium *
Entre nous - Technique mixte sur toile - 162x114cm.
2013 Salle de la Station, Laon, (France)
Rize Gallery, Laren, (Netherlands)
Art to Be Gallery, Lille, (France)
2012 Anne Perré Gallery, Paris-Rouen, (France) Jean de la Fontaine High School Gallery, Château-Thierry, (France)
2011 Anne Perré Gallery, Paris-Rouen, (France) Noyon Cathedral, Noyon, (France) Essomes sur Marne Abbey, (France) Rize Gallery, Laren, (Netherlands) Museum of Modern Religious Art in the Basilica of Koekelberg , Brussels, Belgium)
2010 Espace Saint-Jacques, Saint-Quentin, (France) catalog Antoine Lécuyer Museum, Saint-Quentin, (France) Templar Chapel, Laon, (France) Gap Cathedral, Holy Week 2010 with Bishop Di Falco Léandri (France)
2009 IUFM de Laon (France) Cloister of the General Council of Aisne, Laon, (France)
2008 Jean de la Fontaine College Contemporary Art Gallery, Charleville-Mézières, (France) Scamaroni College Contemporary Art Gallery, Charleville-Mézières, (France)
2013 AD Gallery, Montpellier, (France)
2012 Rize Gallery, Naarden, (Netherlands)
2011 Olivier Nouvellet Gallery, Paris, (France) Trianon, Paris, (France)
2010 Museum of Art and Achéology, Cloister of the Public Library, Laon, (France)
2009 Museum-Arsenal of Soissons, (France) The powder magazine of the Lycée Claudel, Laon, (France)
2008 Showcase of the General Council of the Ardennes, (France) Museum of Soissons, (France)
2007 "Black and White", Contemporary Art Center Crid'art, Amnéville-les-Thermes, (France)
2006 Arthur Rimbaud Museum, Charleville-Mézières, (France)
C'est signé - Acrylique sur toile - 31x46cm
Ben, his real name Benjamin Vautier is a French artist of Swiss origin, born in Naples in July 1935 and living in Nice where his family settled when he was 14 years old.
It is thanks to his second-hand disc store that he decorates the facade he meets from 1958 to 1972 future great names in contemporary art as César, Martial Raysse, Arman, Ives Klein. Although very close to the new realism that was born in 1960 under the pen of Klein, Ben is very influenced by the literacy of Isidore Isou of the years 1945. Too young at the birth of this movement, this influence remains one of the most remarkable of his work .
After moving his store to the Museum of Modern Art, he made his home, masterpiece of art brut, the new meeting place and meetings of nonsense that defines it so well.
In the year 1980 it will be the origin of the name given to the group formed around Robert Combas in France: Figuration free, and which corresponds, in the United States, to the Bad Painting of Keith Haring, Jean-Michel Basquiat, ...
His thoughts, travels, illustrations, projects, activities are noted on his website from 1996 to the present, in a narcissistic and ironic way, which marks his relationship with technological art.
Ben and Fluxus
Thus influenced by the letterism, the surrealism and dada which touch as well the poetry, the words, as the painting, it adheres in 1960, in Germany, to the Fluxus group.
This one corresponds to his thirst for humor and especially to the abolition of the barriers between everyday life and art.
Like disruptions in everyday life, he uses the post office and traditional communications networks to spread his vision and play freely with letters, phonetics and poetry.
His paintings, although painted on canvas and reasonable format, remain on the fringe of traditional painting because they represent nothing more than what can be read.
On the other hand, his style is born from this period, where he illustrates the school and the blackboard on which a child writes.
He even illustrates what he says when possible: '' I can do everything '' 1971 Acrylic on canvas, 86 x 116 cm, private collection. At that moment he really acts thanks to his misspelling. We can talk about performance in the sense that saying it is equivalent to doing it.
At the same time, he multiplies the actions by signing everything: "I sign everything that surrounds me. Objects, girls, any pebble on the beach »
1962, thus denouncing the megalomania of artists, and the competition between them to stand out.
Great disciple of Duchamp, and in this great provocative sense, he will exhibit a bottle of urine labeled at the Grand Palais during the exhibition ''72, twelve years of contemporary art in France' '; which puts the work into the institutional context.
His work is most often embodied in objects like God, put in box, (which he signs) which is thrown into the sea. He participates however in the destruction of the art: "I undersigned Ben Vautier declares authentic work of art: the absence of art. 1963.
It helps to explode the work of art, or what it means, and invites the object out of the museum to use it.
In his practice of performance, let us note the beginning of the trauma inflicted on the body with 1969 "To bang the head against the walls" until the blood of Ben stains the wall, and that its pain is intolerable.
His writings: humorous or sarcastic messages are maxims he believes in, or thoughts that cross his mind at a specific moment, and in which everyone can recognize himself. Her humor helps to poise the life around us and to take a fresh look at it.
They are characterized by a limited respect for syntax and the systematic use of white handwritten text on a black background. His medium is cold and does not take into account a particularly touching aesthetics, it escapes any traditional form of art.
Her handwritten and childlike writing, readable by all, is usually composed of few words that form an appeal to the reader. In this sense, his message is aimed primarily at the eye and not the thought. He addresses the spectator in the crowd of visuals around him, and exploits him by multiplying the print of his texts.
He illustrates many agendas, calendars, school kits and other stationery, which gives a commercial aspect to his work, which rarely has a work of art.
Poetry of life or extreme trivialization of art, one wonders where the social question or utopia that animates each artist, in the practice of Ben today.
* '' "I sign everything around me. Objects, girls, any pebble on the beach "'' 1962, Ben Vautier
* '' "I undersigned Ben Vautier declares authentic work of art: the absence of art. »1963, Ben Vautier
* '' '' Fluxus would have liked to be a cactus in the ass of art '' ', Ben Vautier
Sans titre - Acrylique sur toile - 122x91cm
Born in 1958 in Nantes, France. Died in Paris in 1993.
Rémi Blanchard, born in 1958, is one of the four founders of the Figuration Libre movement, his work has been exhibited at the Museum of Fine Arts in Bilbao, at the Museum of Modern Art in the city of Paris, at the Center d'Art Contemporain from Pittsburgh.
Trained at the Beaux-Arts Quimper, he will make a decisive meeting in his artistic choices, that of his teacher Bernard Lamarche-Vadel who encouraged him to join Paris in 1980. The painter produces many works but they will be unfortunately lost during the fire of his workshop located at the time in La Villette.
It is part of the movement "Free Figuration" alongside iconic artists such as Robert Combas and Hervé di Rosa in order to free the art of hierarchy and social conventions. Unlike other artists in the movement who will rather practice a humorous and provocative art, Rémi Blanchard draws its references in tales, myths and legends to stage colorful characters highlighted by large black outlines in a bucolic environment and childish.
Square - Acrylique et aérosol sur toile - 91x91cm
John MATOS CRASH starts Graffiti at a very young age on New York City trains before painting canvases. In 1983 he joined the Sidney Janis Gallery before entering the world's largest collections of MOMA New York at the Stedelijk Museum in Amsterdam. He appears to the general public by co-producing with Keith Haring the advertising campaign, Peter Stuyvesant. He became known in France by participating in the exhibition 5/5 Figuration Libre, France-USA at the Museum of Modern Art of the City of Paris in 1984. This exhibition featured the work of artists such as Basquiat, Boisrond , Combas, Keith Harring, Tseng Chi Kwong, Di Rosa ... and John Matos Crash.
In 1996, he painted five guitars by Eric Clapton Stratocaster, one of which was priced at $ 321,100.
In July 2006, he exhibited at the Brooklyn Museum. In 2007, Secret Story uses one of his pieces to create the Eye of the franchise.
In 2010 and 2011, he exhibited at Addict Gallery.
November 2012, at the Brugier-Rigail Gallery.
In October 2015, he exhibited outside the walls of the Brugier-Rigail gallery at the Villa Tamaris simultaneously with the gallery Brugier-Rigail. The Villa Tamaris and the Brugier-Rigail gallery are jointly producing a catalog called "Then and Now" for these two exhibitions.
Au petit carré - Glycérophtalique sur toile - 130x97cm
CEDRIX CRESPEL born February 9, 1974, is from Guérande. At first as a designer draftsman in a design office, then an art collector, he quickly moved towards a much more creative expression such as design, interior design, photography, music and above all painting. that he has always practiced.
This atypical course makes it an emblematic artist of a generation from pop culture, rock, urban, open to his time. Resolutely contemporary, her work absorbs and mixes these influences and draws a surprising energy and sophistication. The works of Cédrix CRESPEL explore, between sweetness and violence, the contemporary feminine where the woman is staged in a symbolic universe in a laudatory way. Its flawless Glycéro perfect dishes give an icy impression contradicted by the energy of colors, a mechanical realization that excludes all vulgarity. Her work shows women who have a singular graphic scrambling on the faces because her only goal is to paint femininity in its broad sense. All of his work seduced by the richness of his analysis and his energy. The world of Cédrix CRESPEL transports us into a painting freed from all sociology. 2011: edition of a monograph by AD GALERIE, a 144-page book written by Renaud Faroux and prefaced by Philippe Huart. EXHIBITIONS 2015: exhibition at the Red Garden, Marrakech 2013: exhibition "JOIE" AD Gallery MONTPELLIER 2012: Exhibition "BullS, HorseS and GirlX" AD GALLERY BEZIERS 2011: Exhibition "Outside, parking ..." AD GALLERY BEZIERS 2010 Gallery Art lounge Birmingham England 2009 Galerie Leslie's Barning Luxembourg Galerie Petitjean Aix en Provence Galerie Cri d art Metz 2008 The Moon Parachute Epinal Gallery Petitjean Aix en Provence 2007 Galerie Edgar The Art Dealer Paris 2006 Galerie Art on the move Naarden Holland Galerie Edgar The Art Dealer Paris 2005 Galerie Edgar the Art Dealer Paris FAIRS 2012: ArtNim St'Art, contemporary art fair of Strasbourg 2011 Art Elysées PARIS, international fair of contemporary art 2010 Lille art fair Lille AD Gallery European fair AAF Gallery Brussels Leslie barning 2009 European Fair St art Strasbourg Galerie Edgar International Fair AAF Brussels Galerie Edgar 2008 International Fair AAF Brussels s Galerie Edgar International Fair AAF London Galerie Petitjean 2007 European Fair St art Strasbourg Galerie Edgar.
Elévation - Acrylique sur toile - 109x109cm
Hervé Di Rosa born in Sète in 1959 in the south of France, was one of the main craftsmen of the French artistic movement of the "Free Figuration", in 1978, he leaves his hometown for Paris, where he settles with his friend painter Robert Combas. They renewed the painting in the 1980s, an uninhibited painting emerged, often borrowing from comics, Punk Rock, Graffiti but also science fiction, advertising and television (simple images and colored.).
Di Rosa enrolled at the National School of Decorative Arts and in 1980, first publications of his works in French magazines. He lives and works in Paris but travels the world (Mexico, USA ...) in search of new inspirations and also to exhibit in many foreign galleries.
During his travels in foreign countries, he creates works inspired by the culture of the country in which he finds himself and by using their means of expression (Paintings on skins of zebu or lamb strained in 1995 in Ethiopia, Work of lacquer and mother-of-pearl technique in Vietnam in 1995 in the workshop of master lacquerer Lê Nghieem in Binh Duong ....).
In 2000, in Sète, opens the Yum, the International Museum of Modest Arts, project conceived and directed by Di Rosa. The principle is to expose any object that has been designed, designed and manufactured and that Modest Art therefore considers a work of art in its own right.
IZZOP14 - Technique mixte sur toile - 73x60cm - 1996
Born in Lubeck (Germany) in 1935, Peter Klasen arrived in Paris in 1959, he lives and works in Vincennes since 1985.
A committed, rebellious artist, his works evoke industrial society, a smooth world in which the artist plays with multiple signs and objects: far-away inaccessible beauties, sensual mouths, concrete walls, metal objects, kitchen utensils, industrial machines, manometers, circuit breakers, ammeters, dials, wheels, pipes, pictograms and key words: poison / radioactive / corrosive ...
A major artist in Narrative Figuration, Peter Klasen through photography, painting, sculpture, three-dimensional installations, also represents an acute and demanding awareness of contemporary life.
His work crystallises anxieties, brings together symptoms while provoking reflection and liberating the imagination. Both collage and trompe - l'oeil, his creations are inspired by urban reality, his signs, his codes, his coldness and his hardness.
Peter Klasen's originality lies in the intention behind his work and the material of his choice to express it (work from photography).
Contemporary artist in his means and his research Peter Klasen also wants to be a watchman of contemporary life. He wants to underline the ambivalence, the inseparable and contrary aspects: the fascination and the seduction that it exerts by its efficiency, and the obvious or hidden dangers that it conceals.
His work has been the subject of several public commissions: wall mural for the Sncf station at the Musée d'Orsay (1987), wall mural for the Forum des Halles and the Lille City Hall (1988), Silkscreen for the bicentenary of the Revolution (1989) ...
But it did not fail to attract investors and private patrons: mural for the parking of La Défense (1994), mural for Factory Prat Europa ...
His works are exhibited all over the world and appear in numerous public, institutional and private collections (National Library in Paris, Museum of Modern Art of the City of Paris, National Museum of Modern Art - Center Georges Pompidou, Paris, Moma New York, as well as in many modern and contemporary art museums around the world: London, Tokyo, Seoul, Berlin, Mexico City, Geneva, Vienna, Brussels ...)
Just do it - technique mixte sur toile - 202x46cm
Maxime LHERMET was born on July 27, 1974 in Sète.
His first paintings traveled very early to the United States, Germany or Spain.
Inspired by his inspiration, he did not have time to settle down in a movement and his non-academic painting is now becoming figurative and abstract. A subtle blend of burnt plastic, oil and acrylic or pigments reflects the success of his research on the subject that has always fascinated him.
The paintings of this series exhibited at AD Galerie are made on plastic tarpaulins burned with a blowtorch then glued on canvas (often large size 80 cm x 100 cm) and then painted with glycero or acrylic lacquer, on some paintings natural pigments are added with fixatives. Some colors are created by a mixture of lacquer and acrylic. Thus effects of materials appear between the colors.
Ceci n'est pas un Vermer. Assemblage et collage sur bois - 170x140cm
Born in 1964, Eric Liot is successively a painter, sculptor, assembler and collagist. As many disciplines and techniques of creation that establish today as an accomplished artist.
Its galaxy, it oscillates between the Campbell Box or the worlds of Warhol. For twenty years, the man has emerged as a recovery of images. Impregnated with the works of the artists of the Narrative Figuration such as Errò, Télémaque or Peter Klasen, Eric Liot, like his elders, works in the moment, feeding on images and everyday characters to fix our icons contemporary. We meet indifferently our favorite heroes, Super Man Che, the usual figures of consumption such as Bibendum or the box Campell, or characters from cartoons, movies, or video games. The artist uses and abuses all this small world to build all kinds of singular and representative metaphors of our time.
But the originality of Liot is to multiply the possibilities by including in a work several images in order to telescope temporalities, spatialities and personalities of different nature. Thus in "The time of the colonies" the figure of Banania attached to a body of Xmen is cut on a background of toile de Jouy! So again, collage and puzzle all at once, his "Mickey trash" appears as the singular image of a kaleidoscope.
Like all painters who have fun rushing our eyes in the maze of all kinds of space games, Eric Liot takes pleasure in bringing up a character of this disorder perfectly mastered! Liot is firmly rooted in the tradition of found object and assembly. It subtracts the objects to their original utility end and adds a new plastic quality to them. The bottom of wood then serves him as canvas. He then settles in the perspective of painting. Yet thanks to successive layers cut to the dimensions of the subject glued, it drifts little by little towards a low relief that one could describe as "painting-sculpture"!
Contemporary by excellence, Eric Liot confirms, through this new exhibition, his artistic talent full of imagination and originality, always guided by this innate taste of derision.
Janus - Technique mixte sur toile - 150X150cm
Mist, born in 1972 in Paris is a French graffiti artist.
It was at the end of the 80s that Mist (Guillaume Lemarquier) discovered graffiti along the RER railways by going to his art school in Paris.
Captivated by what he saw, he made his first graffiti in 1988. His paintings with bright colors and Wildstyle leaves no one indifferent. He is quickly recognized as one of the most talented graffiti artists in the capital. He is also one of the rare people who excels in both volumes and drawing.
In 1998, he developed his sculpture work and realized his first character in volume. In 2001, with his label "Bonustoys", he publishes his own toys.
He became one of the pioneers of what we call "designer toys", these small vinyl sculptures today were produced in the edition (edition) of 100 to 1000 ex. and have been sold in collectible toy stores around the world. Today, Mist is fully dedicated to his creation in his studio in Montpellier, where he lives today.
Hollow foetus dans son coffret - inclusion cristal de synthèse - 34x23x23cm
Alexandre Nicolas, French plastic artist, has a fascination for the modeling of raw materials. These experiments led him to search for new materials, until the discovery of the synthesis crystal. He will therefore multiply the tests and daring on this topic capricious. The artist has found in the inclusion resin a special material, the synthetic crystal, which allows to create a kind of suspension of time. It is a matter of perfect transparency and exceptional strength, which represents a real technological challenge and can fix things in the moment. Alexandre Nicolas works on his personal icons and superheroes who are for him a modern transcription of mythology. The fetus, floating in resin and at the same time completely imprisoned by technology, is delivered to our critical eye by calling us as the mirror of our consumer society. In the ever-changing era of the image, Alexandre Nicolas presents to us, inside the crystal case of synthesis, the fetuses of the superheroes of our childhood, and invites us to dream together to take hand of our own destiny in particular and that of a whole humanity in the making. The series "VERSUS" extends to the field of myths and legends, stemming both from civil society and creation, and resides in oppositions of destinies, it depicts popular figures who clash. Of the chosen subjects, only one is real (Yurifoetus): it is the emotional and cultural counterweight to imaginary and esoteric creatures. The characters are fully integrated into our culture, they return sympathy.
Portrait (3) - Huile sur toile - 100x81cm
The painting of Philippe Pasqua, we receive it as a physical shock but also as a vision that is both explosive and incisive. The amplitude of the artist's gestures - a dance where alternation brutality and finesse, trance and lucidity - command the monumental format of his paintings.
Philippe Pasqua begins by painting some kind of fetish or enigmatic silhouettes evoking voodoo. Then, little by little, his gaze turns to those around him. It interferes with the folds and folds of the intimacy of beings; goes to the depths of their being.
As a counterpoint to this carnal work, there are his great drawings. The face or body becomes halo, mist, smoke, line, vibration. It is not so much flesh and matter as sketched contours and delicate textures.
There are also "palimpsestes"; works on paper combining screen-printing, printing and painting techniques, where the painter revisits his own works by staining them with colors or redrawing them.
Another major aspect of Philippe Pasqua's work is his series of "Vanities". The technique used evokes as much that of the goldsmiths of the Middle Ages working on a reliquary that some shamanic ritual. It covers human skulls with gold or silver leaves. He can also dress them with skins that are then tattooed. Finally comes the delicate stage where skulls are adorned with naturalized butterflies. Wings spread with iridescent colors: the light diffracts on their surfaces in a colored powder or is lost in the deep shadow in the hollow of the orbits. It also happens that it runs liquid paint in a thick stream that covers everything and submerge.
In recent years, the artist has also visited Carrara, where he carves skulls of several tons that are like massive stars radiating telluric force. At the foundry, Philippe Pasqua made imposing bronze fonts which are then immersed in chromium baths. The skulls that emerge - human or animal, like that of the hippopotamus - become like mirrors: sometimes we only perceive their blinding brilliance, sometimes they disappear in favor of what they reflect. And as soon as we approach it, it is inevitably our own image that we see.
Du studio au 5 pieces - 1992 - Acrylique sur toile - 50x50 cm
The French painter François Boisrond, son of filmmakers Michel Boisrond and Annette Wademant, was born on March 24, 1959 in Boulogne-Billancourt.
François Boisrond studied at the National School of Decorative Arts in Paris from 1977 to 1980. He met Hervé Di Rosa and became involved in the movement of free figuration.
In 1984 François Boisrond takes part in the exhibition "Art and Sport" at Le Mans. He finds Keith Haring met in New York two years ago. The same year he participated in the exhibition "French Spirit Today" at the USC Fischer Art Gallery in Los Angeles and the Museum of Contemporary Art in La Jolla and the Biennial of Sydney in Australia. François Boisrond is also part of the exhibition "5/5: free figuration, France-USA" organized at the Museum of Modern Art of the City of Paris.
In 1985, a personal exhibition of Boisrond took place at the CAPC Museum of Contemporary Art in Bordeaux.
Since 1999 François Boisrond is professor of painting at the Ecole Nationale Superieure des Beaux-Arts in Paris.
The forgotten Future - Aquarelle sur papier - 65x50cm
Erro He studied art from 1949 to 1954 in Reykjavik, then Oslo in Norway and Florence in Italy. In 1955 he entered the School of Mosaic of Ravenna. He moved to Paris in 1958 where he met artists, writers and critics linked to the surrealist movement: Breton, but also Matta, Brauner, Masson, Max Ernst, Man Ray, Miro and Duchamp.
In 1962, he published Mecanismo, mecanifeste, 100 mechanical poems, and a manual of mechanics for the college Mecascience for the average mécacours. In 1962-1963, he made sets and masks for Éric Duvivier's film Concerto mécanique pour la folie ou la folle mécamorphose. Between 1964 and 1967, he made his first film Grimaces.
From 1963 to 1965: Erró participates in artistic interventions with his friend Jean-Jacques Lebel. He himself is the author of several artistic interventions. In October 1963, he inaugurated a solo exhibition with the happening "Les Critiques d'art". At the American Center in Paris in 1964, he directed the happening Gold Water.
In 1982, he is invited to realize a giant fresco in Angoulême. In 1986, he represented Iceland at the Venice Biennale.
In 1989, he made a large donation of works of art and personal archives to the City of Reykjavik. This fund is managed by the Reykjavik Art Museum (Reykjavik Art Museum).
Selfish de 2015 - Mine, huile, acrylique, aérosol sur toile - 70x50cm
LUDO is a French painter born in 1976 deriving from the street art movement. He graduated in sociology and took design and communication courses in Milan, Italy. He currently lives and works in the Paris region.
As a teenager, he is passionate about skateboarding, devouring 1980s magazines and collecting punk-rock flyers. He learns street art by posing his tag everywhere in the streets of Paris.
He is now well known for his street interventions where he fuses organic and technological elements on XXL collages, to give life to all kinds of insects: electronic butterflies, bees equipped with a gas mask ... but also hybrid flowers and green skulls. Acting with pencil lead and oil painting, Ludo combines mechanical and plant objects to transform them into hybrid creatures. These works are drawn with the precision of botanical illustrations.
His favorite color is repeated in each of his creations: an apple green almost acid ... which has become over time its visual signature. Like the artist Klein, who has copyrighted his blue Klein, Ludo wants to do the same with his green.
The coexistence of these universes at once organic and robotic, gives a paradoxical visual result: harmonious and chaotic.
Marylin - Argentic sur diasec - 80x80cm
Born in 1952 in Charente, lives and works in Paris.
1974 Diploma of Fine Arts of Toulouse.
1977 Discover the engraving with Manesse.
Works for Call, LIindstrom;
2014: AD Galerie, Montpelier, France. Horseback riding, Ideal Palais du Facteur Cheval, Hauterives, France. Soloshow Bernard Pras, Lille Art Up, Jos Depypere, Belgium. Cinema / Cinemas, Heart of the City of Vincennes, France.
Impressionists in Normandy, Yport, Fécamp, Etretat, France. Manufacture, Real Estate Club, Marseille 2013, France. Mazel Gallery, Brussels, Belgium. French Cultural Center, Ouagadougou, Burkina Faso, Africa.
2012: Sergio Goncalves Galeria, Rio de Janeiro, Brazil. The great Narbonne, Narbonne, France. Photo Gallery Edition, Berlin, Germany. The acb National Scene, Bar-le-Duc, France.
2011: Arc National Scene, Le Creusot, France Lille Art Fair, Mazel Gallery. Belgium Photospring Festival, Beijing, China. Galerie Jos Depypere, Kuurne, Belgium.
2010: Vincennes Town Hall, France Mazel Galerie, Brussels, Belgium.
2009: Gallery The sun on the square, Lyon, France. "Woman-Objects" at the IUFM Confluence (s) Gallery, Lyon, France. "Rumor" exhibition and installation of "Christ of Loudun", Collégiale Sainte-Croix, Loudun, France. Installation of "Pita" in Ouagadougou, Burkina Faso, Africa. "Of desires in objects", The moon parachute, Epinal, France.
Almacèn Gallery, Exhibition and Facilities, Rio de Janeiro, Brazil. Tony Rocfort Gallery, Rennes, France. Claire Gastaud Gallery, Clermont Ferrand, France. Annie Lagier Gallery, Isle-sur-la-Sorgue, France.
2008: "Anamorphotographie", Suty Gallery, Bordeaux, France. "True-semblance and False-semblance", Nathalie Gaillard Gallery, Paris, France. Installation of "The Virgin and the Child" in Daniel Spoerri's Giardino, Seggiano, Italy.