The best artists of the French art scene

artists - G

GEOFFRAY Catherine

GEOFFRAY Catherine

Catherine Geoffray was born in 1960 in Téhéran. She lives and works in Paris.

Graduated from L'Ecole Nationale des Beaux Arts de Paris, her work has been exposed in France and abroad, several times at ArtParis and Art Brussels, and is part of many private and public collections.

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GIN Christophe - COLONIE - Wayãmpi, Camopi, Guyane,

COLONIE - Wayãmpi, Camopi, Guyane,

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GIN Christophe

GIN Christophe

Christophe Gin was born in 1965. Il lives and works between France and Amazonia. 

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Gingembre Victor - Les Causeuses

Les Causeuses

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Gingembre Victor

Gingembre Victor

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Groom Orsten

Groom Orsten

Simon Leibovitz – Grźeszczak alias Orsten Groom was born in 1982. He lives and works in Paris. He is graduated from  l'Ecole Nationale Supérieure des Beaux-Arts de Paris (2009) and from the Studio National des Arts Contemporains, Le Fresnoy (2011).

What hasn’t he said, read or tried to explain ? What hasn’t he watched, swallowed, digest then spit ? What hasn’t he searched, investigate, bring back or reported on the plane surface ? Whenever we find ourselves despite all means - but we had it coming - in front of a Orsten Groom painting, our legs seem to cast away in vertigo. Chaos is in the place, in it’s theater, and mud and clutter, morrass, tangle, gallimaufry reign.
Let’s untangle what this mud is about.
There is a dilemna: either scrupulously describe it’s vast « Tohu-Bohu » population and signs iconography (a lazy temptation); either aim on the paint itself, it’s economy, examine and study the essential component of this canvases. He works accordingly to a « Method », says he. The flat canva takes in it’s inwardness, it’s backgrounds. These will be the receptacle of the Danse Macabre to come. These abstract grounds (for they’re meaningless at this bottom point) are borrowed from the byzantine and russian icons golden beds - and bring up the lights and tons of the counterday. Then bursts a form, or rather a shape (since the term « form » undermeans a fake formalism, some fetichism to come, « Junk » or « Rubbish » as Bruno Schulz may say); a drawing, or some pattern as the primary sign of the investigation.
Other will succeed amongst the primal clue, and little by little grows and thickens the quagmire.
Therefore, even before any reasoning or thinking, the canvas gets a « reflexion » that the artist experiences as an arena - « a convocation » - and the work to work from itself : « In a turmoil of great joy, grand medieval dance of the anyhows and anyways of haunting. Something as infernal as the vast absurda in which we slash. »
Space get saturated and compelled by the stubborn refusal of any perspective, except for the icon’s reversed perspective that turns the spectator in a second-hand actor of the carnival sewing the picture.
Composition is neutralised. Every patterns condense so as not to arrogate the subject : « There shall be neither entering or exit point. It would be to easy to allow a single pattern gets credit or value from a flattering environment. »
These patterns sometimes disappear and leave a trace, a ghost clue of what have been in order for the thing to be. Backgrounds, patterns, spurts and drippings, flattering effects and strokes order in autonomous ways a centrifugal and centripetal morass.The whole spins out from the center to the physical borders of the picture, and aggregate from the frame to the core. This in a permanent, swirling and torrential trafic.
The picture is the re-organisation space of the cosmic harmonies - cosmological, even cosmogonical - a translation of archetypes. Therefore we cannot grab the totality anymore, but maybe only its tonality.
An adaptation time and the right distance remain to be set. With them we descry the Maelström effect that deports and perverts the stare.
The vertical and horizontal scheduling (the horizontal inscribed between two verticals), the inscription of a frame in the physical surface of the picture, the (often violent) relationship of raw colors (out of tubes and pots) mark the prominence of the disposition device for Orsten Groom. A device that desires to untangle from the formalist constraints.

The dénouement, the outcome would therefore be to level and flatten it all. To neutralise the whole thing. Orsten Groom engages strong relationships with Piet Mondrian in his « new perception » design : it « does’nt process from a given point but puts perspective everywhere and nowhere. It ain’t confined to time and spot. » (Piet Mondrian, The realization of Neoplasticism in a distant future, 1922)
We must lead the « investigations » by this means : the active dynamism of structure by colors, i.e light. Issues that were already at stake in the older and intimate canvas of the artist, where patterns used to feed on the very paint itself.
The work is therefore the theater of this close proximities experiments : words, patterns, signs, matter-colors and light-colors. Orsten Groom takes on the dressmaker suit which needlework is infinite, always on the loom. He knows his sight hampered and the failure of a strict, dogmatic definition of painting - hence this requirement not to build images or idols, this neediness of the canvas to tangle, sew and commingle amongst itself.
Painting becomes an organic monster that Groom wakes and reveals as Calderon’s Sigismond : « man amongst beasts, and beasts amongst men »

Mudseam, Orsten Groom / Martus Lupus, Yannick Courbès, MUBA - Eugène Leroy Museum curator

 

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Guéranger Michel - Peindre le Mont Blanc

Peindre le Mont Blanc

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Guéranger Michel

Guéranger Michel

Since the middle of the 1960s, the painter, graphic artist and photographer Michel Guéranger has been adding to a rich and diverse body of work that has been exhibited in numerous galleries across Europe, the United States and South America. His work is represented in major public and private collections. Constantly questioning spatial notions, Michel Guéranger first explored the dynamic play of the laws of space and our perception of it, in particular as part of ‘Space’, a group that is listed in the Encyclopedia Universalis.
A few years later tackling the question of speed, he integrated temporal notions into his work and collaborated with the automobile industry and Aérospatiale. The ephemeral nature of natural supports was another subject of interest, for example when, in extreme climatic conditions, he coloured the snows of Mont Blanc in his monumental piece Sur les neiges du Mont-Blanc.
His experiments have led him to delve deeper into this partial approach to the universe, underlining correspondences between the different cosmic scales, from the infinitely big with Altitudes fractales and Peintures d’altitudes, to the infinitely small using macro photography for Métamorphoses de l’eau.
Michel Guéranger is a consummate dreamer. He dreams of clearly defined matter, space without vertigo, colours, shapes, deep shadows, relief and silence. When you dream as he does, across the breadth of the canvas, you realise that a zero contains infinity, that an atom is larger than the entire universe and that a second can last an eternity.
Michel Guéranger is free. He has escaped from constraints to tirelessly create new continents at the heart of matter. As a microcosmic magician, he plays the details game, seizing a speck of dust, attaching a drop of water, grabbing hold of a light wave and deforming a shape until it is as large as the universe itself.

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Guermont Milène

Guermont Milène

Milène Guermont, born in 1981 in Normandy, has diplomas in both engineering and art. She associates hi-technology with the power of poetic imagination.

Milene's work as an artist has led her to create a new generation of concrete, that bring elegance, technical innovation and a human touch to the familiar grey divider of urban space. Her Polysensual Concrete reacts to each individual's unique magnetic field by emitting dashes of bright light and soft echoes from the voices of nature, from falling rain to the electric whispers of passing clouds. This video will tell you more.

Her work has been exposed at Art Basel Miami, Art Paris, New Art Center New York, Salt Lake Art Center, National Archives of France, Cartier Foundation with the architect Claude Parent, Nuit Blanche Paris, Musée de la Chasse et de la Nature, ...

Additionally, Milene creates both publicly and privately commissioned works. In June 2014, her sculpture INSTANTS was installed in front of the sea in Utah Beach to celebrate the 70th anniversary of the landings in the breach n°00 "Atlantic Wall", Utah Beach during World War II. Futhermore, in honor of this event, her FREE-PLANETs are ordered to be gifts to top figures throughout the world.

In 2015, she is the "coup de cœur" of DDESSIN (Paris Contemporary Drawing Fair), has a a solo video show in the permanent collections of the Fine Arts Museum of Caen, and is selected by the international jury of "2015: international year of light" launched by UNESCO, MINI AGUA is shown at Villa Datris - Foundation for sculpture and INSTANTS is on Utah Beach.

In 2016, she is exhibited at the parisian Mineralogy Museum (solo show), at the fair ART PARIS by the Ermitage Foundation, at Passager Museum, she creates the artwork A BEAT on the Eiffel Tower, the Montparnasse Tower and PHARES, and one of her sculptures is installed permanently on a parisian classified site.

Her last monumental sculpture PHARES (5 km of aluminium, light and lime) on Place de la Concorde, has 3 labels (COP 21, PARIS POUR LE CLIMAT, UNESCO) thanks to hundreds of people to make it in just 3 months.

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