Delay (square on the angles to black / 24)
Philippe Decrauzat
Painting - 240 x 240 cm Painting - 94.5 x 94.5 inch
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Delay (square on the angles to white / 24),
2017
by Philippe Decrauzat
Painting : 214 x 214 cm 84.3 x 84.3 inch
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About the artwork
Unique work
Hand-signed by artist
Sold with certificate of Authenticity from the artist
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214 x 214 cm 84.3 x 84.3 inch Height x Width x Depth
Not framed
Artwork sold in perfect condition
Artwork location: France
Delay, Philippe Decrauzat’s new series of paintings suggests that an aesthetic renewal may well be underway, but not one that entirely disrupts his artistic language, nor the narrative that he has been endeavouring to establish since his beginnings. If the form is unchanged, the spatiality of his work has evolved to adapt to a core derived from the same matrix.
His aesthetic approach makes good use of the formal resemblance of which Heidegger was so fond, asking the fundamental question of humankind’s penchant for structuring itself in terms of its temporality and relationship to time. Proof of this lies in the resemblances that Decrau- zat reveals in this exhibition in which six paintings are presented to the spectator’s longing gaze in formats that may be different, but which are all part of the same logic; a formal resemblance captured at different moments. The visible and the invisible. In Decrauzat’s work, there is an obvious similarity to that of Maurice Merleau-Ponty and his philosophy of the phenomenology of perception: we must go back to the things themselves!
Bearing witness to an extreme rigour, 24 lines reference his previous exhibitions: 24 lines tinted in shades of grey. White becomes black, black turns grey and a gradation opens the way to contracted, or even retracted effects that induce a sort of slow motion pulsation. Decrauzat rarely wanders far from his fundamentals: images, sound and lm. The notion of 24 images per second is an integral part of his means of expression, one through which he distils the essence of his relationship with time — fractions of time, 24 hours, a symbolic notion, the account of man’s experience of space and the world — constructing an allegorical story in connection with the temporality of his own language and free of emotional agitation. There is nothing here which takes us back to the arti cial sign or that tries to reduce this language to the sole expression of emotions.
Delay is a new story, one which, as its name suggests, courts with the idea of lateness. The artist imposes his prose in a diktat for which he takes full responsibility and in which he imagines that we are ready to read, observe and experience the immediacy of visual effects. Decrauzat awakens within us the experience that harks back to the subject of the work itself, like a distinct condition without which there would be no question of a source of intrinsic truth. His truth.
Read more
His aesthetic approach makes good use of the formal resemblance of which Heidegger was so fond, asking the fundamental question of humankind’s penchant for structuring itself in terms of its temporality and relationship to time. Proof of this lies in the resemblances that Decrau- zat reveals in this exhibition in which six paintings are presented to the spectator’s longing gaze in formats that may be different, but which are all part of the same logic; a formal resemblance captured at different moments. The visible and the invisible. In Decrauzat’s work, there is an obvious similarity to that of Maurice Merleau-Ponty and his philosophy of the phenomenology of perception: we must go back to the things themselves!
Bearing witness to an extreme rigour, 24 lines reference his previous exhibitions: 24 lines tinted in shades of grey. White becomes black, black turns grey and a gradation opens the way to contracted, or even retracted effects that induce a sort of slow motion pulsation. Decrauzat rarely wanders far from his fundamentals: images, sound and lm. The notion of 24 images per second is an integral part of his means of expression, one through which he distils the essence of his relationship with time — fractions of time, 24 hours, a symbolic notion, the account of man’s experience of space and the world — constructing an allegorical story in connection with the temporality of his own language and free of emotional agitation. There is nothing here which takes us back to the arti cial sign or that tries to reduce this language to the sole expression of emotions.
Delay is a new story, one which, as its name suggests, courts with the idea of lateness. The artist imposes his prose in a diktat for which he takes full responsibility and in which he imagines that we are ready to read, observe and experience the immediacy of visual effects. Decrauzat awakens within us the experience that harks back to the subject of the work itself, like a distinct condition without which there would be no question of a source of intrinsic truth. His truth.
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Praz-Delavallade • France
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Delay (square to black / 24)
Philippe Decrauzat
Painting - 144 x 144 cm Painting - 56.7 x 56.7 inch
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The work of Philippe Decrauzat involves the view (look) by his strong physical presence which beyond the retinal and perceptve game recreate the environment in a new relationship between culture and history.
Despite the fact that his work formally belongs to abstraction and Op Art, it is more the result of various influences. The links created with the history of forms but also with the so-called low culture suggest a change in our perception of those two worlds respectively considerated elitist and popular. He does not only proceed by appropriation, but prefers discrete and intermingled references; he choose his motives and forms for their spatial and visual qualities. In an interview, the artist precises the link whith this kind of vocabulary: " I am interested in this direct relationship that the Op Art create with the viewer, by the manner it influences the way we look at the masterpiece. "However, unlike the artists of the eighties, i'm not trying to develop a discours about the ideological stakes which have accompanied the historical developement of the abstraction. Far from being tributary of the Op Art, I'm more grateful (related) to practical which question the statute of the image, which means the tools brought on the scene by the conceptual art and the pop art."
The distortion which operates in those forms is the result of this compression of various influences, this variation on motives more or less dominating. But in the same time those references to a more "popular" culture relativise the optical experience. This material of signification and motives tied alltogether can be experienced as a wandering: an emancipated way of using a rigorous vocabulary that the artist approach skew, by playing or in declination like a type-setter who would repeat a sound motive to which he would print his own modulations in order to create a dynamic.
Read more
Despite the fact that his work formally belongs to abstraction and Op Art, it is more the result of various influences. The links created with the history of forms but also with the so-called low culture suggest a change in our perception of those two worlds respectively considerated elitist and popular. He does not only proceed by appropriation, but prefers discrete and intermingled references; he choose his motives and forms for their spatial and visual qualities. In an interview, the artist precises the link whith this kind of vocabulary: " I am interested in this direct relationship that the Op Art create with the viewer, by the manner it influences the way we look at the masterpiece. "However, unlike the artists of the eighties, i'm not trying to develop a discours about the ideological stakes which have accompanied the historical developement of the abstraction. Far from being tributary of the Op Art, I'm more grateful (related) to practical which question the statute of the image, which means the tools brought on the scene by the conceptual art and the pop art."
The distortion which operates in those forms is the result of this compression of various influences, this variation on motives more or less dominating. But in the same time those references to a more "popular" culture relativise the optical experience. This material of signification and motives tied alltogether can be experienced as a wandering: an emancipated way of using a rigorous vocabulary that the artist approach skew, by playing or in declination like a type-setter who would repeat a sound motive to which he would print his own modulations in order to create a dynamic.
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Philippe Decrauzat
Delay (square on the angles to white / 24), 2017
Painting
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