Luc Doerflinger

Description

Luc Doerflinger

Sujets

• Arts

Informations

• Publié par: ywubepyt
• Nombre de lectures: 161
• Langue: Français
• Poids de l'ouvrage: 1 Mo

Extrait

Luc Do

1 7 , r u e

5 4 2 5 0 C h a

erflinger

d e N a n c y

m p i g n e u l l e s

F r a n c e

+ 3 3 (0)6 29 99 07 97

l u c . [e-mail]

www.lucdoerflinger.com

(...), une lumineuse sensation d imminence, 2010 ’

Huile et acrylique sur toiles, 170 x 440 cm

Pinocchio, 2010

Huile sur toile, 100 x 100 cm

New York City, 2009

Huile sur toile, 150 x 150 cm

Nihil - anihil, 2008 Huile sur toile, 140 x 198 cm

This text sums up the main points of Luc Doerflinger’s approach to pain- ting for his last personal exhibition entitled “The 13 th dream of the monk Radar“ at the Guigon gallery, Paris in October 2007.

“And the images hidden deep down in my spirit, pass through these oblong shapes… as if each one of my dreams was linked to a buoy, floating on the surface of my consciousness.“  The monk Radar, “Pensées anadyomènes“

The work of Luc Doerflinger evolves around the question of painting, and beyond to the relationship that we have with images. The recurring figures that are present in his work (penguins, deer, long dresses, swans, oblong shapes…) incarnate each in its own way, the painter, the paint and the virtual space which separates the painter from his painting. At the crossroads of a certain “traditional“ pictural form, and a contem- porary vision of art – but here it is about bringing up the past to place it in the present – His work is built up around the series, groupings, or polyptiques and also the special attention given to the presentation of images. The title of the exhibition “The 13 th dream of the monk Radar“, shows how the association of images, so dear to the artist, works. A sort of double of the painter, the monk Radar sees his hopes of concentration ruined by his pulsions. In this he is close to the painter for whom, once more, “Painting is a collapse of desire in what is real“. Long dresses, swans, and other hybrid patterns coming from this disen- chantment can be seen here as figures of transition in suspension in the virtual space which separates the painter from the paint. They materia- lize this non-place “the seam of the soul and the body“, where the gaze is lost (Michel Foucault,Les mots et les choses). At this place the singularity of the painted image can be found : this trou- bled surface on which signs and also desire slip and slide around.