Presentation
Small prolegomena. Blue birds inhabit red houses.
Rémi Tamain belongs to this generation of artists who enjoy referential echoes in the history of art and works promoted to the rank of icon and recognizable by all. These references are articulated from a global cultural "history" like "clichés" of social class, to be or not to be of a seraglio that separates everything.
Even if he plays these cultural codes, these comings and goings, he is more attached to objects or productions such as end-of-century bathrooms, or the idea of French-style gardens where Alice s' rather than to pictorial works as such.
Rémi Tamain develops a set of objects, photographs, sculptures, and constitutes an extra element of his vocabulary and a personal syntax in every production. It is this friction of origins with his artistic practice that constitutes at this moment the source of his imagination and produces a smile, a laugh free of its fat.
Here there is no incongruity, but the support of an elegant humor which marks all his work in construction, including Le nid, contains in one piece the graceful humor and the formal creaking of his productions. This landscape ornamentation, like phalanstery, offers the birds a space of life and work in harmony on this land of welcome.
These new homes, a kind of moderately-priced dwellings, are hung on the apple tree in an area that is suspected to be privative contemplation. This outdoor hang-up is a sort of "warning" of the Circassian references that mark the work of Rémi Tamain and of this obligation to the form, the elegance that constitutes it and which his work sometimes imposes as Mirror to the larks.
The a priori educational aspect of the works of Rémi Tamain sometimes conceals a look charged with a black mood and a poetic nostalgia, but whose politeness of humor dodges the pathos. The languor of which certain contemporaries of Rémi Tamain form a whole, from Erwin Wurm to Philippe Ramette or older, such as Buster Keaton and Jacques Tati.
Thus, in Rémi Tamain, there is a phenomenology of plywood, a material that at the moment of its lines appears as a manufactured structure that is bloodless with nodosities, and recurs for the realization of its sculptural works.
However, it seems that the narrative is not absent from his work. Thus, the titles he indicates for his pieces offer a kind of fairy tale through exquisite corpses that the viewer constructs.
Graduated from the Beaux-Arts of Nîmes and Dijon, lives and works in the Côte d'Or (21), Ménétreux-le-Pitois Gilles Forest "director of WHARF (center of contemporary art) of Hérouville-Saint-Clair.
Remi Tamain, born on 18 September 1980, lives and works in Ménétreux-le-Pitois, Côte d'Or (21).
2000-2001
School of the Louvre
2002-2006
Ecole des Beaux-Arts of Nîmes, obtaining DNAP
2006-2007
National School of Fine Arts of Dijon, obtaining the DNSEP.
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Rémi Tamain belongs to this generation of artists who enjoy referential echoes in the history of art and works promoted to the rank of icon and recognizable by all. These references are articulated from a global cultural "history" like "clichés" of social class, to be or not to be of a seraglio that separates everything.
Even if he plays these cultural codes, these comings and goings, he is more attached to objects or productions such as end-of-century bathrooms, or the idea of French-style gardens where Alice s' rather than to pictorial works as such.
Rémi Tamain develops a set of objects, photographs, sculptures, and constitutes an extra element of his vocabulary and a personal syntax in every production. It is this friction of origins with his artistic practice that constitutes at this moment the source of his imagination and produces a smile, a laugh free of its fat.
Here there is no incongruity, but the support of an elegant humor which marks all his work in construction, including Le nid, contains in one piece the graceful humor and the formal creaking of his productions. This landscape ornamentation, like phalanstery, offers the birds a space of life and work in harmony on this land of welcome.
These new homes, a kind of moderately-priced dwellings, are hung on the apple tree in an area that is suspected to be privative contemplation. This outdoor hang-up is a sort of "warning" of the Circassian references that mark the work of Rémi Tamain and of this obligation to the form, the elegance that constitutes it and which his work sometimes imposes as Mirror to the larks.
The a priori educational aspect of the works of Rémi Tamain sometimes conceals a look charged with a black mood and a poetic nostalgia, but whose politeness of humor dodges the pathos. The languor of which certain contemporaries of Rémi Tamain form a whole, from Erwin Wurm to Philippe Ramette or older, such as Buster Keaton and Jacques Tati.
Thus, in Rémi Tamain, there is a phenomenology of plywood, a material that at the moment of its lines appears as a manufactured structure that is bloodless with nodosities, and recurs for the realization of its sculptural works.
However, it seems that the narrative is not absent from his work. Thus, the titles he indicates for his pieces offer a kind of fairy tale through exquisite corpses that the viewer constructs.
Graduated from the Beaux-Arts of Nîmes and Dijon, lives and works in the Côte d'Or (21), Ménétreux-le-Pitois Gilles Forest "director of WHARF (center of contemporary art) of Hérouville-Saint-Clair.
Remi Tamain, born on 18 September 1980, lives and works in Ménétreux-le-Pitois, Côte d'Or (21).
2000-2001
School of the Louvre
2002-2006
Ecole des Beaux-Arts of Nîmes, obtaining DNAP
2006-2007
National School of Fine Arts of Dijon, obtaining the DNSEP.
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When was Rémi Tamain born?
The year of birth of the artist is: 1980