La métamorphose de Daphné ou l’amour, 2025

Emmanuelle Tenailleau  

Recent personal exhibitions

2022- "Recent works", Baert Angers salon (49)

2021- "Once upon a time", Anglophone Library of Angers (49)

2021- "Childhood", Aubance Gallery, Brissac (49)

Collective exhibitions

2022- Spring Fair of the Lions Club Trélazé (49)-

DF Art Project Poitiers –

Hybrid Scrib - East Gallery-Paris 4th

2021- GAT exhibition, Trélazé (49)

2019- Jury Prize, Salon de la Ménitré (49)

Curriculum

Bachelor's degree in plastic arts and art history - University of Paris 1

Master of plastic arts - Contemporary plastic practices - Paul Valéry University - Montpellier (in progress).

Intention

Without describing or arguing, the narrative painting that I implement is intimately linked to my memory, which I maintain through drawing and photography. The alchemy that gives substance to the painting is a mixture of provoked accidents and structured order. A certain strangeness often emerges, which I would like to be close to poetic language.

Curriculum

I was formed by the contact with the living artists that I met, since my childhood with Jean Commère my grandfather, then during my professional life in art gallery and visual art journalism. I deepened my perspective by visiting museums. I followed a university course (History of art and plastic arts) and became an expert in modern and contemporary painting (CNES). I am a member of the Maison des artistes.

MY JOURNEY

I start drawing late in my life. When I was in my thirties, a painter friend told me that my literary talent (I am a journalist) was fine, but that in reality I was a painter.

The mirror effect plays. The pencil experience he lends me to draw turns out to be ecstatic. A thunderbolt. I wouldn't stop. What happened ? a sensation that did not belong to the intellect. The magic of the line. A line to me. Who made me exist.

My drawings and paintings deliver a self-portrait of myself, feverish, nervous, colorful and structured. Color is the object of all my research. I read and reread Itten's work. I research how Delacroix, Courbet, Matisse, Doig manipulate colors. But my creation always obeys a state of letting go that makes me overcome obstacles and pursue an unspecified goal. I don't know what will happen when I start a drawing, a watercolor or a painting. I throw accidents. By propelling the color, by letting it flow, thanks to water or thinner; I introduce the pigments, the binders. Rub. Wash, erase. I always erase. There remains a trace, a ghost of the gestures made. On this erasing matrix, another creation will be built: I structure, build, specify, from the spots which have in my brain delivered a new image. The shapeless stains bring me an imaginary matrix on which a story is told. Because the narration of a fixed image fascinates me. How with immobility to produce a mobile image, where relations between objects or painted figures will be tied, but which I would not elucidate.

I seek the limit between what is said (the figures, the objects are recognizable) and what is not said (we do not understand why they are related or the purpose of their gestures or place). In my creation, the strange is introduced into everyday life. A transfiguration by color shifts the illusion towards the unreal.

Why this process where the accident is used to deliver a new meaning? Why this connection to reality through figuration? Why this symbolic strangeness?

I've been looking for the answer for a while. I, the accident victim who causes painting accidents and then makes them wise, haven't I remained the wise child.

The characters I create are often alone in a protective nature. I perceive the image of this feeling of incomprehension which punctuates my existence and seems sufficiently universal to me to be a theme to develop, to share with others. I do not paint for recognition but for this intense sharing which means that someone who has seen one of my creations will talk to me about him, intimately, as if what he had seen there had awakened in him a buried and founding feeling. .

My artistic research is born of an unconscious drive that stems from the desire to give substance to an invading interior image. This inner image comes from the emergence of feeling nourished by social news and personal episodes, from everyday, social and intimate history. It is therefore emotions in reaction to what I experience and perceive, of myself and of the world, which generates the urgency of creation.