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Kevin Rouillard, Sans titre

Kevin Rouillard Sans titre, 2020

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$17,554

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The artwork is available for pickup from the gallery in Paris, France


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Informations about this artwork
  • Medium

    Sculpture : steel, glass

  • Dimensions cm | inch

    108.3 x 66.9 x 3.9 inch

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Not Signed

  • Offered by the gallery

    Galerie Thomas Bernard / Cortex Athletico
    Paris - France

  • About the artwork

    Artwork sold in perfect condition

    Le travail de Kevin Rouillard pourrait faire échos tant à la globalisation des échanges de marchandises qu’au geste ouvrier.

    Ces dernières années, il s’intéresse tout particulièrement au bidon, type de conditionnement largement répandu à travers le monde qui, une fois vide, peut être considéré comme un déchet recyclable allégeant pour certains la lourdeur de la vie. Il se met alors à les brûler, les marteler, les déplier, les assembler et, dans un vacarme frénétique, en sort des « peintures » faites de tôle et de métal.
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Kevin Rouillard

France Born in: 1989 Emergent Artist
Translation in progress

Kevin Rouillard

Born in 1989 in Vendôme

Lives and works in Paris

For Kevin Rouillard, the context is never neutral, it determines the objects' status, their reception and value. Kevin Rouillard shows his lack of interest for oppositions between true or false, the original and the copy, in a system that creates value for artworks.

This may also explain his reluctance to circumscribe his work to postcolonial commitment (despite a maternal link with Cape Verde): he belongs to a generation of artists that has perceived the paradox of being allocated an identity to origins of which they actually have little knowledge. To broach the subject, he therefore finds oblique, non linear strategies, such as this last series.

To send products to Cape Verde, expatriates fill barrels because cargo transport isn't expensive, he says. "Once they arrive, these barrels become doors, wood-burning stoves, brushes, houses. I decided to transform them into twisted shields, used in the formation of Roman soldiers as a collective shell. Like a Trojan horse, the barrels have also become paintings.

(extract from Kevin Rouillard : futur fossile, QDA 08/072016, Pedro Morais)

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