PLP_235, 2025
Claude Billès  

Painting : acrylic, charcoal, cement · 80 x 60 x 5 cm 31.5 x 23.6 x 2 inch · Ready to hang

€1,600 1 600 €

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Shipped from: France

Delivery to: France , € 150

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Verified Reviews : 9.6/10
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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

acrylic, charcoal, cement on canvas

Dimensions ( cminch )

80 x 60 x 5 cm 31.5 x 23.6 x 2 inch Height x Width x Depth

Sold by

Art gallery

Professional art gallery • France

Credentials

Vetted seller since 2017

Description

Cement, plaster, black stone and acrylic on canvas.

Her research operates at the intersection of algorithmic structure and analogical gesture, with error serving as a creative protocol. Number and word become materials, motifs, altered visual syntax, a deliberately degraded data field. The image is no longer accepted as representation, but as an unstable system, a site of friction between codification and the collapse of meaning. The plane becomes a zone of active failure, where error is no longer dismissed, but integrated as a production model. It is in this blurring of legibility that the work finds its strength. The compositions explore the porosity between technical data and sensory language, between algorithm and intuition. Each experiment (writing, drawing, digital art, or painting) reveals an attempt at negotiation between protocol and accident. Hope, if it exists, lies nestled in these instabilities—these margins where the image ceases to obey and begins to manifest itself differently.
The point as pixel, parasite, or accent. The line as uncertain flow or fracture. The plane, a space of conflict, dispersion, and recoding. The whole exists on the border between abstraction and figuration, between coded language and pictorial gesture. His art resembles a perpetual attempt to correct his mistakes.

Abstract

Graphic

Abstract art

Yellow

Pink

Claude Billès, PLP_235
France  • 1969

Presentation

Learn, master (pictorial) techniques, be reassured in contact with them, and finally part with them, first unconsciously and then fully assumed, in favor of an aesthetic of error; this is what his path as a plastic artist has been. For several years now, his research has focused on the formal exploitation of failure, of the dumpling, of the blunder, of the clumsiness. The damaged image will always seem richer than a clean image. He looks for the loophole which cannot be caused but which can arise by taking unknown paths, by taking risks. He trusts experimentation and sees himself as an observer of the effects caused by his actions in a search for a balanced composition. In this sense it is less a question of relying on chance, than of nourishing one's art with the circumstances that arise during creation. Also Claude Billès gives more importance to the accidents encountered and consciously integrated than to the achievement of a formal objective.

His art is a constant catching up of his mistakes.

Sometimes at the border of abstraction, his work is always, in one way or another, in direct contact with reality, whether in its representation, or in its tangible grasp to form composite and hybridized productions. : paintings integrating cables, objects, thread, fragments of magazines… The production of digital images also responds to this notion of layers and stacking of data from reality. The artist superimposes layers of photos of objects, landscapes, textures. The image processing software offers an infinite number of combinations, mergers and density of transparency of the strata. There is only the manipulation which makes it possible to envisage exits. He cannot think of the final image, it is constructed before his eyes, only harmony will dictate the end of the search.

The choice of the medium is not made according to what he wishes to express but is linked to the circumstances of creation and precisely to the constraints of the moment: materials, equipment, available time. In this sense there is no pretext for not creating. No matter the tools and the technique, his works are always the result of a moment when the key words are constraint, experimentation, accident and finally balance. Everything is likely to become a creative act, provided you want to focus on things and extract a composition. Its ambition is to develop a multidisciplinary production by essence where everything is potentially raw material and anchored in an aesthetic of valuing error.

Reviews from our customers

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