Nicolas LANNES

Nicolas
LANNES
www.nicolaslannes.com
[email protected]
"An image is not the imitation ofa thing, but the space between made
visible, the fracture line between things."
G. Didi-Huberman, Devant le temps, (In front oftime) Minuit, 2000
My works question a certain idea of artistic
technique, gravitating around formal method while
freely adapting the innocent sensitivity of the amateur.
Family photos, popular reproductions of paintings, and
familiar images make up a field “ready-made” from
which one can draw, as from a well.
For me, such objects are rich in cultural signs
even if one can see at first glance that they do not
belong the “high culture” of art.
"The image itselfproduces no evidence per se, and can
only show what is brought to it by the gaze ofthe viewer.
The image waits to be made visible by the relationship that develops
between those that produce it and those that observe it.
The image shows nothing as such. Ifan image shows something
deliberately, it becomes a communication and no longer manifests
its nature as an image, which is to say its anticipation ofthe gaze. "
Marie José Mondzain, l'image peut-elle tuer ?(Can an image kill?) Bayard.
Collection Le temps d'une question, 2002
Untitled n° 021
acrylic on canvas 50 x 40 cm, 201 3
Untitled n° 012
acrylic on canvas, 50 x 40 cm, 201 3
Untitled n° 016
acrylic on canvas, 50 x 40 cm, 201 3
Untitled n° 019
acrylic on canvas, 50 x 40 cm, 201 3
Untitled n° 013
acrylic on canvas, 50 x 40 cm, 201 3
Untitled n° 022
acrylic on canvas, 50 x 40 cm, 201 3
Untitled n° 018
acrylic on canvas, 50 x 40 cm, 201 3
In one part of my more recent work, I completed a
series of small format (50x40cm) untitled pieces. Paintings
inspired by personal family photos, picked up in fleamarkets or sometimes found elsewhere.
These small formats are painted in one sitting. The limited
size allows rapid gestures. Several pieces can be produced
one after the other.
This process contributes to a “cleansing” of vision and of
gesture so that each piece is free from any predefined
mental idea. They are a raw and direct interpretation –
uniting at once the experience and the result of my
relationship with the image-object of a family photo.
l'image/objet photo de famille.
Inter alia, I use this space to interrogate the idea of gesture,
or technique, as language.
Untitled n° 028
acrylic on canvas, 50 x 40 cm, 201 4
poncif \pɔ̃. sif\ (masculine noun)
Conventional or hackneyed formula, devoid of
originality, cliché.
Formerly, a sketch or pattern for reproducing
an image by means ofsmall holes pierced
along its principle lines, through which powder
(originally made from pumice stone) was
passed, thereby reproducing the contours of
the drawing.
Figurative or decorative motifrepeated many
times
In cartography, surface pattern made up by the
more or less regular repetition ofa graphic
element or symbol.
Larouse Dictionary, 1997
[Note that the word poncif has been adopted in to English only
in its first sense]
Need a tissue,
acrylic paint on founded canvas, 2011
Poncif n° 004
Pierced magazine cover with traces of acrylic paint, 2009
Poncif n° 007
Pierced magazine cover with traces of acrylic paint, 2009
Poncif n° 008
Pierced magazine cover with traces of acrylic paint, 2009
Poncif n° 011
Pierced magazine cover with traces of acrylic paint, 2009
Poncif n° 021
Pierced advertazing cover with traces of acrylic paint, 2009
Poncif n° 009
Pierced magazine cover with traces of acrylic paint, 2009
How best to produce or reproduce images
effectively, parsimoniously?
We tend to think of painting as a “slow” activity.
I like to paint “fast”. My images are not always the fruit
of long technical procedures, as might be linked to
drawing or other specific types of representation.
Among other approaches I create poncifs,
piercing dot after dot, making figures using various
sources and backgrounds such as large
advertisements, or old magazines found here and there.
I perforate the surface with minute holes, mechanically,
without searching for a particular style; the original
outlines of the document impose their traces on me.
This series of gestures echoes techniques
used by old masters, when they would create “a fresco”
images painted on to fresh plaster, forced to work with
urgency, before the surface dried out.
Likewise, my paintings display, among other
things, this process made visible.
Untitled (smile) n° 005
Acrylic on canvas, 1 20 x 80cm, 201 0
Untitled (smile) n° 007
Acrylic on canvas, 1 20 x 80cm, 201 0
Previous page :
Readymade photo
From a series of photos with holes.
"It is photography as failure, even when it is a success.
I mean to say that it fails to capture its object, precisely because its
object is something that cannot be reduced to an image, thus the image
produced is always overflowing and we cannot prevent it from being
so. In fact a souvenir photo, by its very presence, comes to replace a
recollection, erasing what memory might construct or reconstruct, and
it is this replacement that creates a lacuna, an ellipsis, the great gaps of
shadows which are what the album really contains. Because, it must be
said, a photo album is a fiction; a fiction as passionately interesting as
any other. Perhaps it is very close to the real but at the same time it is a
mask. One has to cross over the appearances within the album in order
to find the real questions, the real gaps ofshadows within the family”
Anne-Marie Garat,
Que nous racontent les photos de famille? (What do family photos tell
us?), Du coté de chez soi, France culture.
Little pet,
oil and acrylic paint on reproduction 60,5x47, 2007
Old-timers,
oil and acrylic paint with fragments of reproduction painting
on canvas backing
1 90 x 1 90 cm, 2008
Bathers,
acrylic and oil on donated canvas
90 x 47 cm, 2008
The beautiful swimsuit,
oil and acrylic paint and collage of reproduction painting
fragments on old canvas backing
1 90 x 11 0 cm, 2008
Eye of the tiger,
oil and acrylic paint with fragment of cut-up painting on
canvas backing
1 20 x 80 cm, 201 4
SUntilted ( Flatulence ) ,
fragments of reproduction painting on canvas backing
50 x 40 cm, 201 4
Face n°05
collage of reproduction fragments and drawing
fragments on paper
70 x 40 cm, 201 3
Face n°01 ,
collage of reproduction fragments and drawing
fragments on paper
70 x 40 cm, 201 3
Face n°02,
collage of reproduction fragments and drawing
fragments on paper
70 x 40 cm, 201 3
Face n°03,
collage of reproduction fragments and drawing
fragments on paper
70 x 40 cm, 201 3
Agatha,
oil and acrylic paint with fragment of cut-up canvas
mounted on canvas backing
1 20 x 80 cm, 201 4
Under the house ( Jorf )
oil and acrylic paint with fragment of cut-up canvas
mounted on canvas baking
1 90 x 1 20 cm, 201 4
The crossing,
oil and acrylic paint with fragments of cut up canvas
mounted on canvas backing
1 80 x 90 cm, 201 4
Exhibitions
Résidences
201 5 La Commanderie de Lacommande, France
201 4 Résidence et atelier de production au M.A.P#, Mobile Atelier Project, Berlin,
Espace Dantza, Pau, France
Allemagne
201 4 Genius Loci, lilienkulturgarten, Berlin, Allemagne
Formation
201 2 L 'Art Prend l'Air, atelier Extension, Gelos, France
2008 D.N.S.E.P, Ecole Supérieure d' Arts des Pyrénées, mention
2004 D.N.A.P, Ecole Supérieure d' Arts des Pyrénées
2011 Dérapage Contrôlé, ordre et désordre, Omnibus / FRAC Midi Pyrénées,
Tarbes, France
201 0 Regards Croisés autour de la figuration, Omnibus, Tarbes, France
La trame, journées du Patrimoine, Domaine le Moulié, Cannet, France
Projet Le figure, Atelier Bon'art, Gelos, France
Variation autour du projet Le figure, Galerie M.G, Bagnères de Bigorre,
Publications
Dérapage contrôlé, ordre et désordre, catalogue d'exposition, Omnibus,
Tarbes,2011
Cinq + un, catalogue d'exposition, ESAP, 2008
France
Atelier Em Cima, Tarbes, France
2009 Grosse Viennale d'Art Pur, Pau, France
Hors les murs, église St Jean Batiste de Mazères, France / partenariat avec
Le Parvis,
centre d' art contemporain,Tarbes
France
Hors les murs, Domaine Le Moulié , Cannet, France /avec Le Parvis, centre
d'art contemporain, Tarbes France
Silex, Moulin de Bellegarde, Lespielle, France
Hors les murs, Hôtel de Journey et Lycée Jean-Monet, Vic en Bigorre, France
2008 Mer, rie, parrainage / Lyon's Club Pau, Anna de Noailles, Lons, France
Cinq + un, parrainage / Rainier Léricolais, Ecole Supérieur d'Arts des
Pyrénées
Nicolas Lannes
1 9 rue Montpensier
64000 PAU
www.nicolaslannes.com
[email protected]
06 24 87 59 22
N°d'ordre MDA: LA7911 0
N°SIRET: 51 0200892001 4