Once upon a time… there was a line! François Réau
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”?
M.P.: You use graphite and graphite a lot. Is this your favorite technique? For what reasons?
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?
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