Cerisiers en fleurs à Kyoto, 2023

Dominique Andrier  

Born May 1, 1952,

1970-1976: Beaux Arts de Paris (architecture section).

1976: Devotes himself more and more to painting, while working in an architecture firm.

1979: Creation of a fresco on the theme of “building” at the learning center of Brétigny sur Orge.

1979-1982: Participates in most Salons in the Parisian periphery with success.

1982: Meets André Bourrié and becomes his student. She begins to paint on the motif, Creation of a fresco on the theme of the "Regate" at the nautical center of St Qentin en Yvelines.

1983: Travels to Tuscany and paints on the ground.

1986: First Prize of the city of Lilas, Exhibits at the "Gallery, the friend of letters" in Bordeaux.

1986-1989: Years of transition, devotes himself solely to the human figure, Exhibits at the Galerie de Crécy and the Galerie de Noirmoutier.

1990: Appointed member within the group of Contemporary Artists of the Ville d'Avray studio.

1991: Admitted to the Salon des Artistes Français and the Salon d'Automne.

1992: Exhibits at the Galerie du Marais and produces his first lithographs for the Editions Vissions Nouvelles, Participates in Art-Expo in New York with the Galerie Axelle.

1996: Artist guest of honor at the International Music Festival of Auvers-sur-Oise Exhibits at the Galerie de Crécy and the Galerie de l'Ecusson in Montpellier.

1999: Exhibits at the Galerie Arpèges in Montpellier “Venice”.

2002: Exhibits at the Galerie de l'Ecusson in Montpellier his first works on the theme of Africa

2002-2005: Numerous participations in group exhibitions,

2007-2009: Develops more and more his taste for Africa in particular for Mali,

2009: Study trip to Radjasthan, discovery of another register of colors, Exhibition at the Galerie de Crécy, “Cloueurs des Indes”

2010: Exhibition at the Galerie de l'Ecusson Exhibition at Saint Hubert Lyon

2011: Exhibition at the Galerie de Crécy, on the theme of New York,

2014: Exhibition at the Galerie de Crécy.

Hourglass

Time that stretches and fades, colors that remain, memories that prolong their shadow in the present, light that resists the inevitable obliteration;

Street corners, glimpses of perspectives, shadows of shops or stalls, loose clothing, just evoked movements of the step that unfolds, striking presence of the suggested attitudes, confidence that is whispered and delivered despite everything to our indiscreet eavesdropping: life present where the noise of the street comes to feed our curiosities, a universe not of dreams but of memory, beings of a present already exceeded, and whose vagueness testifies like an image captured to its promptness and its brevity...

Proof that it is not time that passes, but beings haloed with uncertainties and imprecision in the half light of a day that is already declining... This fusion of the line is obviously calculated: it is not a question of to hide an incapacity to paint the detail, it is a question of giving to the detail its true place, that which it occupies in the memory, its anecdotal character in the history which we try to reconstitute situations or beings disappeared. The painter's aim is not to show us the street as it is, but as it remained in his memory and in his attempt to reconstruct it for us.

What gives life its full meaning is movement and struggles to slow it down, a witness for a moment more immobile than the imperceptible unfolding of our existence: memory is content with the restraints that our memory restores to us: the art of painting is price, which delivers to us layer after layer what our eye and our mind retain from the original vision, and the film is already cracking and splitting from our oblivion.

The work that Dominique Andrier gives us to see is thus made up of a double complexity:

The durability of the testimony that endures in the memory, and the light, much more present than it seems at first glance:

Its saturation is such that it seems to lead us to a universe of half-tones, but very deceptive where the relationship between light and dark is respected, as if on a scale lower than that which reality imposes on us.

As if the shadow were to reveal the contrast created by violent sunshine, as if immersed in this half-light we made ourselves accomplices of the beings who evolve there; Proof that light and color can coexist in halftones, Saint Mark's Square in the rain reveals many shades to us; it is then up to us to participate in it: as a result, we are no longer spectators but subjects of this painting which grabs us into its daily life, and which highlights with touches of white, blue or carmine the multiple and silent jingle of its unfolding.

The considerable work that presides over this outcome obviously suggests that the understanding of reality is for the artist her perpetual quest, that she has never finished adding line, color to color or suggestion to the precision.

Hourglass therefore, where the grain that reveals itself from the painted canvas justifies the allegory, like this impression brought back from a country of sand and desert, like these faces, that unrepentant voyeurs we approach in their intimacy until indiscretion when we discern their features, but also the state of their souls, the nature of their words, and from where we believe the secrets emerge.

Painter of the secret, Dominique Andrier is also one, who reveals magnificent shadows to us through her painting... But let her be reassured: shadows only exist through the light that projects them...