Bruno ROUSSELOT

Bruno Rousselot's painting is like an alphabet, in an obvious play of colour and luminosity. His palette is joyful and bright, a sign that colour is primordial. Not describing himself as a geometrical artist, his compositions are organized before the drawing in order to find the best dynamics, where color and form complement each other.

"I don't build, I organize. »

Bruno Rousselot plays with colours in geometric forms and the work is in a field of spatial movement where balance is at the limit of unbalance. Bruno Rousselot's work highlights the relevance of the issues developed by abstract painting in the landscape of today's incorrigible formalism.

The practice of colour constitutes the central vector of his work: vibrant, frankly juxtaposed, the tones disperse contours, thus situating abstraction beyond all materiality. Each of Bruno Rousselot's series presents and represents a drawing of geometric figures that are specific to him, without one painting being the variation of another. Each painting explores the coloured surface in its fullness and emptiness, in its relationship to light and in the play of colours between them.

Bruno Rousselot's work develops at the limit that separates systematism from variation, the insignificance of the symbol, and plays with the structural canons of abstraction without limiting itself to it. The colour is deposited on a roller in an initial monochrome, which is covered in places with a second layer whose shape has been delimited by adhesive tape. When the tape is removed, the line shows a barely visible tremor that unites the two layers together.

Bruno Rousselot's works can be found in the collections of the Museum of Modern Art (New York), the National Gallery (Washington), the Centre Georges Pompidou (Guerlain donation), the Fonds municipal d'art contemporain de la ville de Paris and the Fondation Cartier (Paris).