ARTISTS
Christophe Boursault: La fuite des egos
Where and how can we classify 鈥� as we are always supposed to do, to some extent 鈥� the art of Christophe Boursault? Why not as a live performance? A live performance that would be capable of leaving a trace, or even a leakage. We are live, in a true state of emergency, neither in a symbolic sense nor to scare people off, but to address what is essential and to experience hardship: the abstraction from which he extracts sensations and memories.
For his third personal exhibition at Polad-Hardouin gallery, the painter, draughtsman, performer and video-maker Christophe Boursault pursues in his paintings and drawings his great work of delocalisation. Abstraction and figuration, raw gestures and reflection, acrylic and spray paint, drawing and writing meet and clash in a permanent quest for identity.
His works feature forms of vanitas as in 鈥淛鈥檃i chang茅 鈥� and 鈥淔ar鈥�, two topsy-turvy works that seem to make fun of themselves. Nothing is serious, everything is true. Gravity must be jostled to be grave. The painting 鈥淟a fuite des egos鈥�, which gives its title to the exhibition, sets the tempo: let鈥檚 expose ourselves but let鈥檚 also forget ourselves, let鈥檚 forget everybody, artists included! A utopia, precisely. But the raw presence of painting is truly there.
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Where and how can we classify 鈥� as we are always supposed to do, to some extent 鈥� the art of Christophe Boursault? Why not as a live performance? A live performance that would be capable of leaving a trace, or even a leakage. We are live, in a true state of emergency, neither in a symbolic sense nor to scare people off, but to address what is essential and to experience hardship: the abstraction from which he extracts sensations and memories.
For his third personal exhibition at Polad-Hardouin gallery, the painter, draughtsman, performer and video-maker Christophe Boursault pursues in his paintings and drawings his great work of delocalisation. Abstraction and figuration, raw gestures and reflection, acrylic and spray paint, drawing and writing meet and clash in a permanent quest for identity.
His works feature forms of vanitas as in 鈥淛鈥檃i chang茅 鈥� and 鈥淔ar鈥�, two topsy-turvy works that seem to make fun of themselves. Nothing is serious, everything is true. Gravity must be jostled to be grave. The painting 鈥淟a fuite des egos鈥�, which gives its title to the exhibition, sets the tempo: let鈥檚 expose ourselves but let鈥檚 also forget ourselves, let鈥檚 forget everybody, artists included! A utopia, precisely. But the raw presence of painting is truly there.
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