Born in 1956

He lives and works in Paris

He has been exhibiting at the Oniris gallery since 2007.




2014: Museum of Modern and Contemporary Art, Geneva, Switzerland

2010: Spectrum Gallery, Osaka, Japan

2009: Song Art Gallery, Seoul, Korea

2007 and 2008: Na & Lee Art Center, Gimpo, Korea

2007 and 2011: Oniris gallery, Rennes

2005: Pallacio Rivelligiado, CajAstur, Gijon, Spain

2003: the 19th (exhibition coll.), Centre d'Art contemporain, Montbeliard

2000: Museum of Fine Arts, Clermont-Ferrand

1997: Musée National d'Art Moderne, Centre Georges Pompidou (expo coll.), Paris

1996: Wilhem Hack Museum, Ludwigshafen, Germany

1992 to 2004: Espace Art Concret, Mouans-Sartoux

1994-96: Musée de Grenoble (exhibition coll.)

1991 : Musée d'Art Moderne de la Ville de Paris (expo coll.)

1987 : Centre Georges Pompidou, Paris

1986: Museum of Modern Art of the City of Paris
Villa Arson, Nice

1984: Le Coin du Miroir, The Consortium, Dijon


François Perrodin, develops a work which extends the history of 20th century abstraction, the purest and most demanding. His work inherits at the same time concrete art, minimalism and monochrome. Perrodin brings painting into play in its relation to space: the space of the work, the space of the exhibition, and the space of the viewer.

The bases on which my work develops, in particular the notion of functioning and, beyond that, the idea of a reactivity of the object, remain in their totally current definitions. Certain specific elements of my work seem to me to have become clearer, to have found more assertive forms and new definitions. First of all, the insistence on the role of the object as a concretization of the form. Then the over-activation of the sensitive quality of the surfaces, their reactivity, the affirmation of an instability that exemplifies the qualification of the object. Finally the taking into account of the mobility of the painting, the relationship to the spaces in which these objects are placed and the relationship to the spectators.

It is a work of painting: the surface of the works, bordered by a frame, is covered with paint, and plays on its effects: matt, shiny... It is a surface of "representation". The surface can also be fragmented into different thicknesses, introducing plays of light and shadow into the object itself but also on the wall on which it is hung.


In the construction of the paintings, all the elements (width, height, surface, depth...) are thought of in relation to each other. The pieces are composed in series: they propose different formulations which, together, have a coherence, revealing a field of possibilities. The reduction of colours - most often black or grey plays - contributes to highlighting this constructive approach: it allows to differentiate shapes, to decipher objects. At the same time, they contribute to a reactivation of the surface.

Works selection