Presentation

Born in 1978 in Rennes, Thomas de Vuillefroy was briefly trained in Penninghen and then at les Beaux-Arts d'Angers in the early 2000s. He lives and works in Espalion.

 "The idea of developing a talent was important to me. I think I can date my desire to create, the day when as a teenager, I realized that the place of an artist in human society is a place that transcends certain borders. It brings to others, through a new vision, a stone to a common building, which can only be carved by those who have moved away from the world to be able to dream, reflect on an idea and, if they can, develop it. 

Thomas considers painting as an extraordinary means of research, always constructive. A little like the Mannerists, after Michelangelo, paint and don't get discouraged. Because deep down he is convinced that humanity is too young to have made the tour, in such a short time, of all that it can see of itself and express through painting. This simple and very complex medium requires both to have something to say, to make choices: a slow, true and necessary time of maturation, with anxieties, questioning, acceptance that these efforts can lead to nothing. It is a nourishing path, sometimes harsh, but one that he does not regret and that gives meaning to his life.

During his first years of artistic practice he greatly erased his work. He used to stop a work session by destroying the subject he came across by spreading oil from top to bottom with a scraper. By chance, in 2012, Thomas used Chinese ink to cover a pastel maybe to cause an accident. The result was that this pastel was not uniformly covered with the black ink. In some places it was dripping, pearling and in others the ink seemed to have slipped on it without attaching. 

Thus, from an accident, this new technique of painting with scraper and Indian ink was born. The print is unique and we are approaching a rendering close to lithography. With an economy of means, Chinese ink and a scraper, Thomas works on paper and creates without using a press. 

Gradually, passing through different stages, his work evolves and three series were born. The first series is drawn by line and hand, sensitive and visceral, resulting from the printing process with the water-miscible lead pencil. Having noticed on these first scrapers areas of grey containing a black gradient, he then created a second series, with paper caches, to obtain images of complex values. This results in a series of portraits mixed with transparency effects. In parallel, a third, more abstract series was created. This series allowed him to understand the gift and spirituality that are found in this technique: what is the gift, the accident, the use of natural physical laws that make the technicality of rendering much superior to what could be created with his hand and his sensitivity if he had to rely only on them to paint. He controls nothing and paints something that is beyond his control and that is revealed to the eyes through this means.



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Who is the artist?

Born in 1978 in Rennes, Thomas de Vuillefroy was briefly trained in Penninghen and then at les Beaux-Arts d'Angers in the early 2000s. He lives and works in Espalion.

 "The idea of developing a talent was important to me. I think I can date my desire to create, the day when as a teenager, I realized that the place of an artist in human society is a place that transcends certain borders. It brings to others, through a new vision, a stone to a common building, which can only be carved by those who have moved away from the world to be able to dream, reflect on an idea and, if they can, develop it. 

Thomas considers painting as an extraordinary means of research, always constructive. A little like the Mannerists, after Michelangelo, paint and don't get discouraged. Because deep down he is convinced that humanity is too young to have made the tour, in such a short time, of all that it can see of itself and express through painting. This simple and very complex medium requires both to have something to say, to make choices: a slow, true and necessary time of maturation, with anxieties, questioning, acceptance that these efforts can lead to nothing. It is a nourishing path, sometimes harsh, but one that he does not regret and that gives meaning to his life.

During his first years of artistic practice he greatly erased his work. He used to stop a work session by destroying the subject he came across by spreading oil from top to bottom with a scraper. By chance, in 2012, Thomas used Chinese ink to cover a pastel maybe to cause an accident. The result was that this pastel was not uniformly covered with the black ink. In some places it was dripping, pearling and in others the ink seemed to have slipped on it without attaching. 

Thus, from an accident, this new technique of painting with scraper and Indian ink was born. The print is unique and we are approaching a rendering close to lithography. With an economy of means, Chinese ink and a scraper, Thomas works on paper and creates without using a press. 

Gradually, passing through different stages, his work evolves and three series were born. The first series is drawn by line and hand, sensitive and visceral, resulting from the printing process with the water-miscible lead pencil. Having noticed on these first scrapers areas of grey containing a black gradient, he then created a second series, with paper caches, to obtain images of complex values. This results in a series of portraits mixed with transparency effects. In parallel, a third, more abstract series was created. This series allowed him to understand the gift and spirituality that are found in this technique: what is the gift, the accident, the use of natural physical laws that make the technicality of rendering much superior to what could be created with his hand and his sensitivity if he had to rely only on them to paint. He controls nothing and paints something that is beyond his control and that is revealed to the eyes through this means.


When was Thomas de Vuillefroy born?

The year of birth of the artist is: 1978