Trou sans titre, 1996

by Christian De Cambiaire

Painting : cardboard, paper 100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch

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About the artwork

Type

Unique work

Signature

Hand-signed by artist

Authenticity

Invoice from the gallery


Medium

Painting: cardboard, paper

Dimensions cm inch

100 x 80 x 3 cm 39.4 x 31.5 x 1.2 inch Height x Width x Depth

Framing

Black wood flush chassis

Artwork dimensions including frame

102 x 82 x 4.09 cm 40.2 x 32.3 x 1.6 inch


Artwork sold in perfect condition

Artwork location: France

Trou sans titre, May 1996. Cutting and painting, superposition of corrugated cardboard and wood.
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About the seller

Professional art gallery • France

Artsper seller since 2019

Vetted Seller


Collector’s Guide

Imagine it at home

Christian De Cambiaire, Trou sans titre
Christian De Cambiaire

Christian De Cambiaire

France  • 1932

Higher studies in Toulouse (political science graduate)

Bifurcates towards artistic creation following the revelation in the 1950s of American abstraction and informal art which influenced his early non-figurative works.

Yet his approach can be characterized as a slow process of disengaging from this initial influence.

To this end, around 1960, to "structure the informal" he used repetitive procedures by superimposing calligraphic grids and began to distance himself from a certain pictorial subjectivism by using the airbrush.

At this time, joined the activities of the Lettriste group.

From 1968 his works were defended by the art critic Michel Tapié, then interested in the concepts of "sets of signs" and "abstract spaces".

The latter made him participate in the main exhibitions he organized in Paris and in Italy. Also takes part, in Paris, in the creation and events of the "V.Art" Group.

In Toulouse, sparks the creation of the "Peinture -Itération" Group (1975-1979) which directs its experiments towards a conceptual deepening of abstraction, made necessary by the exhaustion of some of its forms.

Already germinating in the first superimpositions, in 1978 he tackled the third dimension sometimes used for the production of pictorial reliefs.

From 1983, he directed his practice towards more radical solutions by substituting for the concept of composition, of a heuristic nature, that of algorithmic distribution, where the subject's intervention was moved from the field of immediate aesthetic reactions to that, more distant, of the development and application of SYSTEMS generators of the work. From this perspective, which is that of an empowerment of the image, a major stake in our modernity, since 1990 it has used an original computer program, created from its own formal theme.

In 2005 his works were represented by the Newmark Gallery in San Francisco.

In 2019, retrospective of his career in Nérac.


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