André-Pierre Arnal (b. 1931) has investigated unstretched canvas with determination. Thus we are tempted to compare his work to Claude Viallat and particularly Patrick Saytour, who also takes full advantage of the liberating aspect inherent in folded canvas. in his first Supports/Surfaces works, Arnal deployed regular and repeated folds in order to structure each painting while leaving the greater portion of its surfaces untreated. Later he treated the canvas by blotting it with successive layers of color which diffused throughout and left the surface to become a sort of palimpsest of itself

Louis Cane (b. 1943) began by ravaging the picture, destroying the stretcher and lacerating the canvas to arrive at the Sol/Mur series. Then the ogre began devouring the Old Masters by thrashing all the various styles, from baroque to japonisme via expressionism and Pop. Even the giant that was Picasso never dared embark on such disturbing subjects as the "women playing at doctor", and nor look squarely at the terrors of childbirth. As Louis Cane declares: "to paint these pictures, you need a great deal of maturity and be in excellent mental health".

Marc Devade (b. 1943) was a member and founder of the french movement Supports/Surfaces and was also a part of the editing department of the magazine Tel Quel, as well a founder of another arts magazine PEINTURE, cahiers théoriques. He has left behind a strong legacy from his 15 years of work.

Noël Dolla (b. 1945) is trying to answer the question of painting and especially to the abstract painting. He moves continually his work in the fields of investigation that allow him to explore the pictorial practice to its limits. Dolla enjoys what he calls his "spare part", he uses modest and familiar objects which are those of everyday life. This vocabulary in place since the end of 60 years allows him to occupy the paint exploring its topical.

Jean-Michel Meurice (b. 1938) As a student of the Art School of Tournai in 1957, he meets Pierre and Colette Soulages in the sixties and exhibits at the gallery Jean Fournier in 1966. At the same time, he starts up a filmmaker work by a series of artists' portraits (Bram Van Velde, Sonia Delaunay, Alberto Burri…). Four of his Penelopes are in the Musée d'Art Moderne's collections and in 1987, he was assigned the realization of a ceiling in the Picasso museum of Antibes. He received the National Grand Prix in 1992 for his whole work. His pieces are exhibited all around the world (Tokyo, Beijing, Copenhagen, Stockholm, Paris, etc.)

Bernard Pagés (b. 1940) is a French contemporary sculptor born in Cahors in the Lot in 1940. He participated by chance Supports/Surfaces. Bernard Pagès arrived in 1959 to Paris. It's to the Workshop of Sacred Art that he becomes aware of the accessibility of the sculpture. In 1967, the artist abandons the painting and the traditional sculpture after an exhibition of the New Realists in Nice.

Patrick Saytour (b. 1935) has always been marginal, even on the periphery; his stance remains critical, and ironic with regard to a group whose political positions he has had no truck with. His work can be defined as a deconstruction of form, of the format of the framework of presentation, even of colour as it is sublimated in modernist art. This encouraged him to express a sort of "theatralized" but plastically strong parody of painting. His mise-en-scene exploits an impoverished vocabulary: systematic folding and unfolding, burning, sopping, solarisation, etc. He always uses plebeian or kitsch materials. Subsequently he created assemblages of objects from junk shops; and more recently large scale collages of cheap linoleum and other floor coverings with vulgar motifs to make sumptuous paintings.

Claude Viallat (b. 1936) studied at the Ecole des Beaux-Arts de Montpellier from 1955 to 1959, then at the École des Beaux-Arts in Paris in 1962-63, in Raymond Legueult's workshop. In 1966, he adopts a process based on fingerprints, which shall enter into a critical radical of the lyrical abstraction and geometric (in technique called All-over). A neutral form is repeated on a free canvas without frame determining the composition of the work. In 1970, he was a founding member of Supports / Surfaces.

Noël Dolla

Galería Mascota Valladolid #33 Colonia Roma Norte 06700, Cuauhtémoc CDMX, México +52.55.4143.8380 info@galeriamascota.com

Galería Mascota ©. Copyright 2024 Gallery in Mexico City

Galería Mascota
Valladolid #33
Colonia Roma Norte
06700, Cuauhtémoc
CDMX, México
+52.55.4143.8380
info@galeriamascota.com

Galería Mascota ©. Copyright 2024
Gallery in Mexico City