Alain CLÉMENT

Biography

Born in 1941 in Neuilly sur Seine
He lives and works in Nîmes and Paris.
He has been exhibiting at the Oniris gallery since 1993

 


 

2016 : Arsenal Musée de Soissons, Soissons

2015 : Nirox Foundation, Johannesburg, Afrique du Sud
Suzhou, Chine

2014 : Maison de la gravure Méditerranée, Castelnau-le-Lez

2012 : Hôtel des Arts, Toulon
Nirox Sculpture Park, Krugersdorp, Afrique du Sud

2011 : Oniris Gallery, Rennes

2001 : La Collection, Repères et Inédits, Carré d’Art, Musée d’Art Contemporain, Nîmes

1998 : L’art de la fugue ou le jeu de la vérité ?, Salon-de-Provence

1997 : Carré d’Art, Musée d’Art Contemporain, Nîmes

1996 : Paintings 1980-1995, Centre d’Art Contemporain, Montbeliard
Paintings 1980-1995, Musée d’Art Moderne, Céret

1995 : Paintings 1980-1995, Ecole Nationale Supérieure des Beaux-Arts, Paris
Paintings 1980-1995, Musée des Jacobins, Morlaix

1988 : Abbaye de Montmajour, Arles

1984 : Château de Jau, Perpignan

1977 : Musée Fabre, Montpellier

 

Overview

In Alain Clément's paintings as in his sculptures, it is a falsely "gestural" work, less spontaneous than it seems. All these works are constructed and drawn beforehand, the compositions are not the result of a simple gesture, but of a deep reflection.

In Alain Clément's work, sculpture participates in an evolution of painting: it has not only allowed him to get rid of all illusionism, to reinforce the work of colour, to soften the forms, to make simpler works, with less superimposition of planes, colours... In short, to reinforce the presence of the object-painting, by its frontality, its unity.

I undertake each painting with the hope of one colour. Everything presides over the emergence of this colour, but often it forks, returns to the shade.

Contrary to Greenberg's postulates, Alain Clément cannot conceive a "flat" painting, in painting there is always a depth, a volume. The gesture of writing takes charge of the constitution of the space and as with all great formalists, the form contributes to drawing the background.

 

Alain Clément does not only propose an abstract formalism, he uses the optical efficiency and clarity of composition to subvert this vocabulary, giving it a relatively expressive and carnal dimension.

 

In Alain Clément's work, sculpture, not only metaphorically but also materially, comes from painting. The volume is not created from an inert material (wood, stone, earth...), but from the plane and by taking off from the plane. Sculptures, such as those seen in the exhibition, are first of all the object of drawings, gouaches...; the drawings transferred to the sheets of sheet metal constitute the cutting and folding lines of the plate: what was inscribed in the plan becomes volume in space.

 

In return, sculpture contributes to an evolution of painting: it has not only allowed it to get rid of all illusionism, to reinforce the work of colour, to soften the forms, to make simpler paintings, with less superimposition of planes, colours... In short, to reinforce the presence of the painted object, by its frontality, its unity.

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