Philippe Moller

Born in 1948, my childhood was rocked by drawing and painting, my mother having studied Fine Arts and the Higher School of Decorative Arts. Later, she encouraged me to follow the nude sketching sessions at the Grande Chaumière workshop in Montparnasse. Figurative painter and restorer of paintings, she left me free of my pictorial orientation, while giving me advice. Despite everything, it was self-taught that I approached oil painting, not having gone to art school. Reading the theoretical writings of Wassily Kandinsky and Joahnnes Itten, completed by visiting exhibitions, formed a basis from which I evolved and built my own approach towards abstraction. The meeting with Henri Giriat, former administrator of the Albert Gleizes foundation, who encouraged me and introduced me to painters like René Dürrbach, sculptor, painter and creator of the stained glass windows of the basilica of Mézières, was decisive in the pursuit of my approach despite periods of doubt. I have always practiced drawing and painting alongside my history studies and my teaching profession. Since 2010, I have devoted myself fully to painting and drawing, participating in numerous group and personal exhibitions, in my region Center Val de Loire (Blois, Romorantin, Salbris, Selles sur Cher, Noyers) in Paris (Triennale de Paris, Autumn Salon, Meditation light church of the Madeleine) in France (Toulouse, Clermont-Ferrand, Cavalaire / mer, Aix en Provence, Le Mans, Pouilly sur Loire) and abroad: in Japan (Fukuoka, Nagoya, Takamatsu , Anjo City), in Spain (Alalpardo-Madrid Norte) in Brazil (Teresina - Piaui), in New York and in Brussels. Artistic approach For me painting has regained its autonomy with abstraction; freed from any dreamlike, hyperrealistic or naturalistic representation, it has a strictly plastic writing. The canvas becomes an object of creation. Abstraction thus allows my imagination to seek multiple harmonic and rhythmic possibilities, dictated both by the resources and the demands of any flat surface. The organization of the plane of the painting and its graphic structuring by the line, the translations or rotations of various surfaces but also the tonality of the hot, cold, light or dark colors, the sometimes use of mounted fabrics and various sands, make it possible to create renewed harmonies, rhythms, oriented cadences that appeal to the sensitivity of each and invite the gaze to a journey through the canvas.