|
the artist
|
· |
Gregoire Debailly was born in 1961
in Dijon in côte d'or in France, resulting from a family of artist (Auguste Pinel painter portraitist and friend of Courbet).
He expresses as of his childhood his taste and his aptitude for the drawing and painting. After studies of right, it is initiated with the technique of painting while following the lesson of Xavier de Langlais before perfecting its training in Switzerland with Zürich, then in Berlin where it takes part in many performances in the years 1990, before installing its workshop in Prague where it will remain until 2001. On its return in Paris he becomes member of the house of the artists. He exposes his works each Saturday on the market of creation.
Painter side Artprice 2005 in the auction-room Drouot Neuilly, the painting of Gregoire Debailly strikes by the extraordinary promptness of his colors, the audacity of his pallet and by the quality of his work. Currently it lives and works in Paris.
"For me the problem of painting, it is that of an effectiveness which has as an aim, by any means, the sudden appearance of an image, of something of new. This known as it is not enough to be expressed to render comprehensible itself the research of the direction is essential for a painter. The image reveals instantaneously all the contents, it is not like a history with a beginning, a development and an end, all occurs here, now, it is instantaneous. A picture it is the last image of a history the last tangible trace which begins its crossing of time. It is there the essential point of my work, it is that which holds all my attention, which I seek to seize on each one of my fabrics it is this moment: the moment when all is done and demolishes in a miraculous and transitory tremor, this vibrating moment of the urgency, the urgency of living."
"For me the gesture of the painter remains more recognized who is because it is the gesture which consists in affirming its individuality while resisting the standardization, by being opposed to any form reductionnism. Worst spite than a table can make us would be to leave itself completely indifferent "
|
art
