Exhibitions

Bruno Dufourmantelle’s work is traversed by a corporeal relation with painting and the implications he has in the formulation of an absolute plasticity; this is as true of the paintings explicitly titled « Battles » as it is for the more recent works in which the image appears out of a physical confrontation with the organic aspects of pictorial materials and techniques : « I depart from black backgrounds in order to show light » , black background, light, colours, forms...

This dynamism proves the real quality of this work, whose forms (the content, the subject) do not preexist, but emerge from the void in the surface effects : « Look for beings in painting through painting ». Juxtaposed, isolated, intermingled forms that are difficult to make out (rock-like bodies, horizon-line bodies, landscape bodies) emerge from a « material of light », worked with the impressions of brushstrokes and blades (a series entitled Paysages humains, human landscapes). More-detailed hands form landmarks, while the bodies juxtapose their solitudes and their secrets-neither united nor separated.

Bruno Dufourmantelle occupies this place in which the distinction between realism and abstraction dissolves or becomes blurred, the form and the figure meld in the exploration of pictorial practice. His paintings therefore represents a memory and it refers to the emotional turbulence that a gesture can produce. The artist makes references to what we can’t say, in its capacity to create an analogy with the invisible and the unintelligible: « Paintings are interior places. I am, above all, seeking the interiority of beings and the invisible ». He thus demonstrates, here in a musical mode, that painting is a valid substitute for the depth of emotion or expression.

LA FORME is "the link" between three our artists. 

You can feel this link in all its states: structure, regularity and geometry with Christophe Gravis ;it fits and superimposes itself in works by Frédéric Cimolai and it  finds itself refined and minimalistic at Anouk Albertini's sculptures.

And just like this, all in their own way, they answer each other perfectly, in colour and in harmony. It is surprising to see them complement and soften in the same formal movement.

Christophe Gravis does not paint the painting but composes it in ordered and rigorous constructions associating, prepared collages. The artist plays colors and overlays to trap the eye in simple montages that do not require a reading but just to see.

With Frédéric Heurlier Cimolai: on the contrary, we paint the painting, we feel it, we guess the drawing of the brush, accentuated by the use of the tempera. This makes it possible to obtain unique materials and colors - an explosive manganese blue or a bright fir tree.
Most of the time the forms gather in the central area of ​​the painting and sometimes they invade the canvas in a delightful entanglement. The bottom also has its importance, whitewashed, united, it allows to vibrate or float the forms.

Anouk Albertini focuses on the simplicity of forms, elementary, timeless and universal. Her abstract sculptures are reduced to solid forms, earth or limestone, polished and white as snow, which suggest couples or families. The elements are either assembled in the material or composing and we enjoy to move them: we have the feeling of shape.

Amelie du Chalard