Claude Viallat and Franck Chalendard share the same faith in the power of painting underlying great works. More than demonstrating a style or the manifestation of a manner, like the masters of modern art, they have developed a pictorial system involving a set of knowledge subjected to the critical analysis of a practice and theory.
Since 1966, Claude Viallat has been repeating the impression of a generic form which declinations fill the surfaces of bases that are not mounted on stretchers. Their materiality is part of the construction of the work as much as the material colour employed. As is the work of the artist. With this system, Claude Viallat has “revisited” the history of art from its origins to the present day and, like no other, has succeeded in creating spaces in which the intensity of colour achieves the plenitude of form.
Franck Chalendard has embarked on the use of a thesaurus of shapes and motifs accumulated by abstraction. He reuses them by reviving their meanings. In his recent works, he puts together fabrics adorned with beautiful motifs that he then obliterates and stains with colour applied with broad gestures. These paintings, consisting of ready-mades, thus avoid their condition of reproductions. They become unicums (unici) in which the jubilant sumptuousness of colour and the artist’s inaugurating gesture bloom.
Consulate General of France in Hong Kong and Macau
The Alliance Française de Macao
Bernard Ceysson Gallery