The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
The moon is a harsh mistress, 2014Galerie Valentin, Paris
Antoine Donzeaud, Untitled PE 1, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 2, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 3, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 4, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 5, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 6, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 7, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 8, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled PE 9, 2014Acrylic on polythene and spray paint on wood
200 x 106 x 7 cm
Inquire
Antoine Donzeaud, Untitled Terrace, 2014Wood (oak), canvas, acrylic and inkjet on tracing paper
140 x 83 x 8 cm
Inquire
Antoine Donzeaud regards paintings as surfaces and interfaces. The frame's territory is no longer a projection space, but one of visualisation, interaction and involvement.
Roughly handling his media (his frames and the canvases, tarps and other materials he staples to them), the artist regards paintings as manipulable, decomposable mental objects. Dressing them up, staining them and tinting them, he proliferates a variety of signs, permanently wrecking the painting-object, its back, its inside.
Proceeding by means of series, Antoine Donzeaud's works are like palimpsests carrying traces of a series of assemblages revealing the layers and successive sets that constitute them through transparency and superimpositions. A painting is a framework that adds up data by default and brings variety into an image in order to make it stammer.
These mechanics lead to a logic that repeats and encodes forms. Diversified, added up, embedded, they modulate like their supporting screens/filters, whose visible parts are constantly redefining their territory.
Divided and autonomous, these assemblages constitute the elements of a mental urbanisation that is constructed and demolished according to the fertility of what it engages. standing up, one is no longer sure what the composition defends or dissimulates, what is suggested or given.
– Elisa Rigoulet