1st exhibition of young Lyon artist of Brazilian origin Antoine Néron-Bancel at Galerie Claire Corcia. Born in 1985 in Sao-Paulo (Brazil), Antoine Néron-Bancel is a young artist from Lyon. After literary studies, he obtained a first diploma at the Fine Arts of Nîmes (a southern experience which saw several exhibitions devoted to his drawings) and another with mention from the National School of Decorative Arts in Paris. He began his apprenticeship with classical drawing and engraving. Quickly feeling the need to specialize, he turned to black and white, which he relentlessly declined in his paintings as well as in his animated films (several of his films were selected for various festivals). His precise line drawing, his poetics of the image, chisels a dreamlike world inspired by the customs of our contemporaries. "Antoine Néron-Bancel is originally an artist of black and white, as symbolized by the checkerboard, omnipresent motif of his Indian ink drawings. By the thoroughness and precision of his lines, he plunges us into a lunar atmosphere, where the urban profusion, made of tangled stony structures (stairs, arches, sections of walls) subjected to the empire of transport (cars, bicycles, helicopters), contrasts sharply with the clarity of a stubbornly virgin sky. The result is a striking impression of the vanity of verticality: the towers collapse and the stairs crumble in the void. return from the earth a "wandering star" as Heidegger said. Hence the fatality of the corruption of the sublunary, embodied in his canvases by the erosion of the mineral, deprived of its power of preservation, which even contaminates human forms: these present t irregularities, cracks, which condemn them to remain unfinished, fragmentary. As in his animated cinema shorts, faces disappear and men are literally incorporated into the city. Only scattered limbs remain, hands seeking to touch, and legs seeking to walk. This is because, for lack of transcendent meaning, the only possibility lies in activity, in terrestrial projection. It is because this underlines the more recent use of color by the artist. The often bright colors - red, blue and yellow in felt or posca - slip into the interstices between the mineral elements, both stony structures and human limbs that generally remain immaculate. The contrast is only accentuated with the Indian ink which remains in the background, while no free space, sky or abyss, escapes the profusion of entangled forms. The meticulous swarming that emanates from it gives one to contemplate the dreamlike nature of a resolutely modern artist. "- Virgile Chanel