Once upon a time… there was a line! François Réau

Trulli
Trulli
Trulli
Trulli
Trulli

Black to bring out the invisible, an enigmatic drawing probing the processes of transformation and timeless installations questioning the relationship between man and nature: the work of François Réau is multidisciplinary in order to experiment with perceptions that are as much experienced, felt as dreamed. Born in 1978, François Réau has participated in many drawing shows (Festival Vrrrrrr in Toulon, DDessin in Paris). He exposed at the Louvet Gallery at the beginning of the year, showed the fruit of his research residency with the French Embassy in Australia and is represented by the H Gallery. A lyrical artist who reveals part of his creation to us.

Marlène Pegliasco: Your drawing goes beyond the academic framework to invade space. How do you explain this practice?

François Réau : At the beginning it was a desire to develop something that is in the very image of drawing, that is to say, to be in perpetual evolution. So my project developed naturally and quickly beyond the two-dimensional space of a sheet of paper or a wall. To ultimately bring this idea to the end of a physical and mental displacement of purpose in space

And so concretely by the use of plastic devices where ropes, threads, branches and flowers, mirrors or glass or even neon lights will be used or tensioned. Creating shapes through these plastic devices is also in a way to put them on hold of their definition. Because they are like intermediate zones, zones that cannot be absolutely delimited and whose borders are undecided. I hope my work offers a vacant space that calls for identification and/or naming by those who will look at it

Finally, there is with this classical or academic idea that a plastic device through a drawing or a design can be first of all the mystery or the questioning or the power of a presence. From the moment I make a device the vector of a sensation, it is no longer its presence that counts, it is its ability to interact with the visitor, a place or an architecture.

M.P.: Your work is “more” than drawing, it’s thinking on paper. How do you get the idea to emerge?

F.R. : The relationship to the elements, to the cycles of time and movement is naturally present in my work, which has also allowed me to develop a drawing practice as a temporal experience and which seeks to translate a complexity of reality or to reflect an experience. Some of the plastic proposals I have been able to formulate echo this idea of the infinite work and then give the drawing the possibility of being a space and time of experience of visual thought. an image works on several levels, i.e. it is the whole range of image construction that allows us to open up to our own stories.

M.P.: Tell us about your “drawing machine”?
F.R.: This is a project that was carried out at the end of 2017 in the south of Sydney with the support of the French cultural services of the French Embassy in Australia. I wanted to extend my research and experiments around drawing by pushing the limits of it with the implementation and creation of a recording and representation device, a machine to draw space and time. This machine comes in the form of a sensitive box (a cube), covered with mirrors on its 6 external faces and which brings the movements of the outside world back to the scale of a trace. A journey punctuated by the comings and goings I have done, like a walker – artist – researcher. The result is the drawn story of the journey that took place along the way, in the space of the landscape.Also the device I have built is played between the effects of memory, the resonances of space and landscape and the thread of a story that I have built on the spot during my daily walks in the landscapes of the Bamarang Nature Reserve Australia. The drawings are the events of the real life of the trip, on which the real route that I would have made during this crossing will have been previously traced

M.P.: You use graphite and graphite a lot. Is this your favorite technique? For what reasons?

F.R. : In a way, we can say that light is also defined for me as its ability to inhabit space and infinity. I don’t know if I use it for the symbolic ranges it can have or that we lend it, but anyway I use graphite or lead mine also for those reasons that are related to light and reflection which brings as something something of a transmuted light

M.P.: You have no violent relationship with creation, your works are refined, calm, temperate, rather abstract, giving us the feeling of entering a parallel universe. What are you trying to put in your creation?

F.R. : It is a work that is in a way in between, between fascination, possibility and questioning. The perception of reality through an environment like that of a landscape and which tries to reveal the infinite movements of space and time. They are like mental representations that involve our gaze and the way we perceive or perceive them
The landscape, an element of the journey, is the place rich in all possible escapes. I speak more of landscape space than landscape in my work because there is a direct reference to space insofar as landscape is the projection of the inner dream. What sometimes lends itself to the impression of entering a parallel universe where something is at stake between real and imaginary. Many of my works weave links between dream and reality, so the landscape can become through this prism, the instrument of a poetic metaphor or the refuge of a plastic feeling, which can offer the eye a potential reenchanting.

Chinese portrait:

If you were a drawing: Purpose

Your favorite technique: The porosity of mediums and techniques

The most unusual support: Space and time.

“…Drawing is like…” Drawing is…. thinking in motion.

Marlène Pegliasco

Graduate of a Master in Art History and living in Toulon, I created the blog Art In Var (www.artinvar.fr) to share with my readers, the rich artistic news of this beautiful department. This passion...

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