REMY
HYSBERGUE |
Remy Hysbergue,
Esbrouffes 20, 2004
acrylic on PVC panel, 52 x 47 inches |
Remy Hysbergue,
Esbrouffes 22, 2004
acrylic on PVC panel, 57 x 50 inches |
Remy Hysbergue,
Esbrouffes 23, 2004
acrylic on PVC panel, 53 x 48 inches |
Remy Hysbergue,
Esbrouffes 26, 2004
acrylic on PVC panel, 40 x 53 inches |
| Remy
Hysbergue has been working in series since the '90s, using acrylic on white
Komacel PVC panels. The surface offers the artist a rigid, non-reflective
ground on which to push and pull his paint with all manner of application,
from squeegee to syringe to trowel. The thread that ties the series together
is that of the artist's explorations into the range of paint, its intelligence,
its myriad possibilities; the application of paint; the use of color at
once subdued and wild, his concern for the void and the bright whiteness
of the surface, which seems to emit light. |
Remy
Hysbergue's use of color ranges from a monochromatic pull of paint across
the surface in the Distraction series (in which he applies a single color
of paint to the center of the panel and pulls it with a trowel across the
surface, pressing right and left to vary density, thicker in some places
and veil-like in others). In the September 2002 issue of "Artforum,"
Guitemie Maldonado writes of this series: "Chance becomes a partner
in the work's creation. The resulting image varies according to the duration
of motion, various phases (stops and starts), and pressure applied, and
is based on the interplay of plenitude and void."
|
Remy Hysbergue,
Epoustouflont 5, 2001
acrylic on PVC panel, 63 x 48 inches |
Remy Hysbergue,
Epoustouflont 9, 2001
acrylic on PVC panel, 63 x 48 inches |
| In
contrast to the quiet, meditative quality of the Distraction series, is
the ebullience of the Epoustouflant and Vide Fait series. In Epoustouflant,
Hysbergue juxtaposes a flower-like shape, a large-scale intense burst of
color--shocking pink or ruby red--with muted tones, calligraphic markings
on the edges of his panel in shimmery silvery whites or blues, all anchored
with a pale line of color on the bottom edge--sky blue or light yellow.
In Vide Fait, the white of the ground is as important as the markings at
the panel's perimeters. In this series nothing intrudes on this sacred white
light, the heart of each painting. Using a syringe to apply juicy lines
of acrylic in a rainbow of colors, Hysbergue animates the edges with an
interweaving network of quirky lines, layering color on color, incorporating
iridescence into his palette which runs the gamut from recognizable nameable
colors, black, white, blue, brown, etc. to colors that defy labeling. |
| In
Esbrouffes, the artis's most recent series, Hysbergue turns away from the
white of the ground as light to light radiating from metallic colors as
he pushes, pulls and swirls acrylic across the surface. Bronze, greys, golds
punctuated with passages of striated candy colors, create a rhythmic field
around which the eye dances. |
Remy Hysbergue,
Epoustouflont 2, 2001
acrylic on PVC panel, 63 x 48 inches |
| Hysbergue's
use of series is a conscious and clear decision. He poses problems for each
group of paintings and concludes a series when he has solved the problems
posed, thus keeping the paintings fresh and edgy. Often titles suggest the
artist's thinking in creating the series, or refer to its formal elements,
at other times they might be a play on words, a verbal equivalent to the
visual activity of the painting. In his paintings, the artist is looking
for visual connections, a bridge which unites contemporary art to painting
of this century, as well as to the stimulation of "new graphic design,"
and fashion. |
Remy Hysbergue, Vide Faits 11, 2002
acrylic on PVC panel, 63 x 47 inches |
Remy Hysbergue,
Vide Faits 12, 2002
acrylic on PVC panel, 63 x 47 inches |
Remy Hysbergue,
Vide Faits 21, 2002
acrylic on PVC panel, 63 x 47 inches |
Remy Hysbergue,
Vide Faits 15, 2002
acrylic on PVC panel, 63 x 47 inches |
Remy Hysbergue,
Extra 23, 2001
acrylic on PVC panel, 63 x 47 inches
|
Remy Hysbergue,
Bluff 19, 2001
acrylic on PVC panel, 63 x 47 inches |
Remy Hysbergue 2003
More on Remy Hysbergue
Remy Hysbergue's Biography |
In
"Art Press," Alexandre Bohn writes: "this is a painting of
effects, in the fullest sense of that word (gleaned from the dictionary:
result...efficacy...influence...general meaning...impression...design...phenomenon...operation...properties,
etc.). And effect is the unsurpassable constant, the very texture of the
painting. Of all painting, in effect."
Remy Hysbergue was born in Valenciennes, France in 1967 and received a Diplome
de l'Ecole Nationale Superieur des Arts Decoratifs, Paris.
The artist's work has been shown in France at the Centre Culturel de Beauvais;
Chapelle Saint-Louis de la Salpetriere, Paris; Ecole des Arts Decoratifs
de Limoges; Ecole des Arts Decoratifs, Aubusson; Ecole des Beaux Arts de
Rennes; Ecole des Beaux-Arts de Valence; Fonds Regional d'Art Contemporain,
Auvergne, Clermont-Ferrand; Galerie du Wazoo, Maison de la Culture d'Amiens,
Amiens;Galeries du Rutebeuf, Clichy; Pavillion des Arts, Parc Floral, Paris;
Le Chantier, Parc de la Villette, Paris; Theatre de Clichy; and Il Filatoio,
Caraglio; Centro Sperientale per le Arti Contemporanee, Caraglio; L'Ala,
Savigliano; Le Serre Reali, Racconigi, in Italy.
His work is included in the public collections of Fonds Regional d'Art Contemporain,
Auvergne, Clermont-Ferrand; Fonds Municipal d'Art Contemporain, Paris; Fonds
National d'Art Contemporain, Paris; Ohara Museum of Art, Kurashiki, Okayama
Prefecture, Japan. |
Remy Hysbergue,
Mirobolants 3, 2002
acrylic on PVC panel, 12 x 11 inches |
Remy Hysbergue,
Mirobolants 4, 2002
acrylic on PVC panel, 12 x 11 inches |
Remy Hysbergue,
Mirobolants 5, 2002
acrylic on PVC panel, 12 x 11 inches |
Remy Hyesbergue,
Mirobolants 9, 2002
acrylic on PVC panel. 12 x 11 inches |
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