FR/
RAYNAUD LE MENTAL MONUMENTAL
Raynaud est un artiste en éternel mouvement dans un art perpétuel du présent. Sérial détourneur, il désigne, consigne, assigne et signe. Neutraliser, lisser, vivre l’absence, il conjugue la disparition, ressent le manque et l’étouffe d’une intense perfection sans faille. Mélange d’archétypes et d’objets simples, la communication de Raynaud s’est signalée au monde, immédiate, méthodique et puissante. Chaque œuvre est une bataille rangée, une prise de position déterminée aux scandaleuses préoccupations profondes, à la conscience inquiète d’un intime déchirement, d’un talent extrême compulsif tragiquement amusé, ne voulant rien inventer, observateur, sondeur fasciné de l’existant, de l’actualité et de ses symboles, d’une époque bouleversée et de ses restes supposés ou réels digérés dans son implacable symbolique. Collages, coins, cuves, fûts, niches, panneaux épures, fragments, radiographie, fers, crochets, tessons, couronnes d’épines ou sélection de fleurs sectionnées, tout est si éphémère mais irrémédiablement dompté, compté, mesuré, intégré, dans un temps indéfini, infléchissement en devenir. Depuis toujours il envisage avec ferveur, envergure et austérité, d’inattendues reconversions à grande échelle, installations d’esthète géomètre, prises de possessions démentielles, d’endroits possiblement gérables, transposables, recouvrables, voire habitables. Raynaud ne cache rien et, depuis près de cinquante ans, trouve l’intégrité de gérer son œuvre dans le temps, puisant dans un catalogue d’éléments ordinaires à charge de décharges triés, adaptés et organisés. Innocence, bonheurs des réminiscences enfantines, la transgression vibre aussi de cette liberté là innée et incontestable. Il anticipe et participe, ose la pureté, la forme originelle, l’idéal artistique, avant toute autre considération, totems d’un champ d’action spatiotemporel défriché, gagné, sauvé, imposé par nécessité faisant loi signalétique, en définitive éviction d’ordinaires banalités et redites. Van Gogh Gauguin, Monet, tous s’invitent, s’inventent dans cette concrétisation magistrale, intercèdent pour mémoire subliminales, conjonctions audacieuses, chocs, panel de panneaux chics et synthèses absolues. Plus que tout autre Picasso attire, inspire, respire, formidable hommage d’ermite au dernier mythe. Ses pots à fleurs fétiches, récurrents déflorés, parés d’or ou de couleurs métalliques, icônes précieuses auto appropriées, teintées d’autobiographie, se vivent sculptures charpentées, divinités à adorer, séductrices pink, autoportraits intimés, métaphores structurées.
Du 13 octobre 2011 au 12 novembre 2011, la galerie Laurent Strouk présente d’importants travaux de cet artiste monumental sur ses thèmes fétiches du totem et du panneau. Il y sera également fortement question du concept historique et autobiographique du pot décliné sous différents volumes.
Du 13 octobre 2011 au 12 novembre 2011, la galerie Laurent Strouk présente d’importants travaux de cet artiste monumental sur ses thèmes fétiches du totem et du panneau. Il y sera également fortement question du concept historique et autobiographique du pot décliné sous différents volumes.
EN/
RAYNAUD THE MONUMENTAL MIND
Raynaud is an artist in eternal movement, in a perpetual art of the present. Serial diverter, it designates assigns and signs. Neutralize smooth live the absence it conjugates the disappearance feels the lack and smothers it of an intense perfection without fault. Mixture of archetypes and simple objects, the communication of Raynaud signaled to the world immediate, methodical and powerful. Each work is a pitched battle, a determined stance with scandalous deep concerns, with the worried conscience of an intimate tearing of an extreme compulsive talent, tragically amused, not wanting to invent anything, a fascinated observer of the existing of the actuality and of its symbols of an upended time and of its supposed or real remains digested in its implacable symbolism. Collages, corners, vats, barrels, niches panels, spurs fragments, radiography, irons hooks, shards crowns of thorns or selection of sectioned flowers, all is so ephemeral but irremediably tamed, counted, measured, integrated in an undefined time inflection in becoming. He has always envisaged with fervor the scope and austerity of unexpected large-scale reconversions, the installations of an aesthetic surveyor, the taking of demented possessions of places that could possibly be managed, transposed, recovered or even inhabited. Raynaud does not hide anything and since nearly fifty years finds the integrity to manage his work in the time drawing in a catalog of ordinary elements in charge of adapted and organized dumps. Innocence, happinesses of the childish reminiscences the transgression also vibrates of this freedom there innate and incontestable. It anticipates and participates dares the purity, the original form the artistic ideal before any other consideration totems of a space-time field of action cleared won, saved, imposed by necessity making law signalling in final eviction of ordinary banalities and repetitions. Van Gogh, Gauguin, Monet, all invite themselves invent in this masterly concretization, intercede for memory subliminal, audacious, conjunctions shocks panel of chic panels and absolute syntheses. More than any other Picasso attracts inspires breathes formidable tribute of hermit to the last myth. His recurring fetish flowerpots, deflowered adorned, with gold or metallic colors, precious self-appropriated icons tinged with autobiography are living sculptures, framed divinities to be adored, pink seductresses, intimate self-portraits, structured metaphors.
From October 13 to November 12, 2011, the Laurent Strouk Gallery will present important works by this monumental artist on his favorite themes of the totem and the panel. The historical and autobiographical concept of the pot will also be strongly discussed in various volumes.
Raynaud is an artist in eternal movement, in a perpetual art of the present. Serial diverter, it designates assigns and signs. Neutralize smooth live the absence it conjugates the disappearance feels the lack and smothers it of an intense perfection without fault. Mixture of archetypes and simple objects, the communication of Raynaud signaled to the world immediate, methodical and powerful. Each work is a pitched battle, a determined stance with scandalous deep concerns, with the worried conscience of an intimate tearing of an extreme compulsive talent, tragically amused, not wanting to invent anything, a fascinated observer of the existing of the actuality and of its symbols of an upended time and of its supposed or real remains digested in its implacable symbolism. Collages, corners, vats, barrels, niches panels, spurs fragments, radiography, irons hooks, shards crowns of thorns or selection of sectioned flowers, all is so ephemeral but irremediably tamed, counted, measured, integrated in an undefined time inflection in becoming. He has always envisaged with fervor the scope and austerity of unexpected large-scale reconversions, the installations of an aesthetic surveyor, the taking of demented possessions of places that could possibly be managed, transposed, recovered or even inhabited. Raynaud does not hide anything and since nearly fifty years finds the integrity to manage his work in the time drawing in a catalog of ordinary elements in charge of adapted and organized dumps. Innocence, happinesses of the childish reminiscences the transgression also vibrates of this freedom there innate and incontestable. It anticipates and participates dares the purity, the original form the artistic ideal before any other consideration totems of a space-time field of action cleared won, saved, imposed by necessity making law signalling in final eviction of ordinary banalities and repetitions. Van Gogh, Gauguin, Monet, all invite themselves invent in this masterly concretization, intercede for memory subliminal, audacious, conjunctions shocks panel of chic panels and absolute syntheses. More than any other Picasso attracts inspires breathes formidable tribute of hermit to the last myth. His recurring fetish flowerpots, deflowered adorned, with gold or metallic colors, precious self-appropriated icons tinged with autobiography are living sculptures, framed divinities to be adored, pink seductresses, intimate self-portraits, structured metaphors.
From October 13 to November 12, 2011, the Laurent Strouk Gallery will present important works by this monumental artist on his favorite themes of the totem and the panel. The historical and autobiographical concept of the pot will also be strongly discussed in various volumes.
