Pascal Pinaud's strategy is clear; it aims to preserve the canvas as memory, form, support, and structure of painting, as an archtype and pretext, an indubitable, highly coded convenience. His tactic is no less clear : carry on the battle. All angles of attack differ and are valid. Painting has long dreamed of pertaining to mastery and exceptional savoir-faire : the rendering restates the qualifying endof this dream as the end of painting itself.
(born 1964, lives and works in Nice) is one of the most talented artists of this generation. Since the 1990s, he has questioned the principles of painting
to better advance as a painter. A graduate of the Villa Arson
art school in Nice, he contributes to the excitement of theory and practice that generates among the best artists of the moment.
Exhibited early on in his career, he has established the principles of a work that have led him to produce different series and to connect his creation to the gestures and methods of production borrowed from industry, the artisanal or certain situations from daily life.
He offers paintings, sculptures, photographs and installations where a history of our creative and transformative capacities of reality blends with the history of the arts. He thus raises the question of their relationships between our physical and mental environment and design
, a certain poetry of everyday life and an “ordinary adventure” that belongs to us all. He analyzes, he diverts and brings us to places where forms make it possible to experience “a thousand lives.” He often evokes the dialogue of his work with those of Gérard Gasiorowski, Bertrand Lavier
, John Armleder
, Noël Dolla
as well as with certain painters of American abstraction from the 1980s such as Philip Taaffe or Jonathan Lasker. He has exhibited in numerous museums and art centers around the world, from the Mamco
in Geneva to the Frac Bretagne
. His works are present in major public and private international collections including the Museum Ludwig in Vienna and the MNAM in Paris. At every stage of his work, he has chosen an experimental position which brings into play the vitality of art, that of sight, of the creative gestures within a society which he uses as a permanent source of inspiration and artistic invention.
See also Pascal Pinaud
; Thomas Golsenne: Pascal Pinaud – Serial Painter