Olivier PETITEAU

Biography

Born in 1974

He lives and works in Cholet

He has been exhibiting at the Oniris gallery since 2015

 


 

2020 : "Captures d'écran", Musée d'Art et d'Histoire, Cholet

2020 : 1rst solo exhibition at the galerie Oniris

2016 : "Small formats", group show, Oniris gallery, Rennes
"Art Paris Art Fair", Grand Palais, Paris, with the gallery Oniris, Rennes
2015 : "Invitation #1", group show, Oniris Gallery, Rennes
2014 : "MULT", group show, Tinbox Gallery, Bordeaux
"Mauvaises impressions", A gallery, Denée
2013 : "Raccourcis", EAC gallery, Cholet
2012 : collective exhibition, gallery A, Denée
"Tunnel", Mortagne
Armorican Biennial of Contemporary Art, Museum of Saint-Brieux
2010 : Macparis, Espace Champerret, Paris
2008 : "Inlays", 9 arrangements on paper, La Très Petite Librairie, Clisson
2007 : "Move your art", espace des Blancs Manteaux, Paris
2006 : "Première", Pascal Vanhoecke gallery, Paris
Gallery of the hospital Saint Alexandre, Mortagne
2005 : "Primavera", collective exhibition, Cholet
2004 : "Become a composer of mechanical music" (performance) in "Transformeurs", Nantes
"Les oiseaux jouent de l'accordéon", Théâtre 71, Malakoff
"Installation and delicate sound system", La Meilleraie, Cholet

Overview

In his creations, Olivier Petiteau exercises and mixes different artistic practices that might seem far from each other such as, drawing with inks on paper, marquetry, sculpture, music, silkscreen printing, machinery, etc... Yet, all his works come together, express and enrich themselves around movement, repetition and mechanism.

Each artwork is a different voice trying to compose a multi-voice narrative.

Olivier Petiteau loves repetition and seeks to divest himself of his creative will. In the era of reproducibility, the work can do without the author's affects. His meeting with François Morellet, a determining factor in the development and blossoming of his work around these notions, will support this will.

 

By using humour, and a necessary distance from today's media, Olivier Petiteau's productions thus establish between the creator and the receiver an intimate vision of the work outside of the "dirty and catapulted information" in the media. Through his hypnotic serigraphs allied to marquetry where he speaks of "false 2D" or his sculptural graduation curves derived from statistics delivered by the media, Olivier Petiteau tends to exorcise through poetry and irony a vision of the concrete, omnipresent world governed by numbers and percentages.

 

The works find their strength in a certain apparent heterogeneity, the same is true for the material that composes them: Olivier Petiteau exploits wood such as Plexiglas, concrete, paper, plastic... So many materials diverted by their essential creative process and determined by a mechanical, pre-established and systematic process leaving no room for interpretation. The titles alone can generally describe the entire work with information on sculptural form, dimensions, colour, or the realization itself.

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