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The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.
The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.
The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.
The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.
The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.

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Les géants Painting

Jean-Philippe Brunaud

France

Painting, Oil on Canvas

Size: 19.7 W x 27.6 H x 0.6 D in

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ABOUT THE ARTWORK

The work I developed between 2014 and 2017 in the series Tired Ghost, allowed me to address the issue of memory and its omni presence, making memories and more widely what has disappeared, a right to to exist and to have an autonomous life, in perpetual evolution. This look I had on the past in his relationship to the present nally led me naturally to a questioning on time and the imprint that can be left. The temporality was thus opened with the means of displacement, the landscape, which in my eyes, has precisely this timeless, immutable side. This nature which will be and has always been; both yesterday, today and tomorrow. So landscapes, both polaroids of an innite time as a moment slowed, almost at a standstill. Landscapes as a space that becomes the interlocutor and silent condant, to better question what we are, who we are, and what we will be? Landscapes where the crossing of a river is like that of a whole life. Landscapes where one sees in the extent that one thought to be deserted, a subtle and eeting apparition. Landscapes to cross, reections like vertiges of time together, visions and blows of towel that erase, a morning, a night, a day, a year, a thousand years or a small fraction of a second. A form of calm and contemplative waiting where the gure is one with the enveloping nature, where the one who looks in turn becomes a receptacle of his own existence and of the place which is his in the middle of the world. A small place, a small and discreet presence, fragile in its existence, which could fall into oblivion, go unnoticed, and who can be, will nd the other's eyes to be born or reborn.

DETAILS AND DIMENSIONS
Painting:

Oil on Canvas

Original:

One-of-a-kind Artwork

Size:

19.7 W x 27.6 H x 0.6 D in

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Currently living and working in Paris, France. Actively participating in group and solo exhibitions since 2000. - What was your first contact with art? What made you want to become an artist? My father was an art lover and made it his hobby. I saw him do it and I did it with him too. I was going to see exhibitions that would leave a lasting impression on me. Besides, my best friend's mother was a painter. I bathed in his work daily. For me, being an artist was something normal from a very young age. With this friend, we walked a multitude of paths of creation and among other things, made many paintings with four hands. But it was with comics that it all started. This is what prompted me to study Applied Arts from high school. Painting as such finds its trigger during the lessons of living models. Rather than working on this exercise in pencil, I quickly chose brushes and ink or paint. I was looking to transcribe the life of the body and not the representation of it. For short exposures, where you had to get to the point in no time, the color and living matter of these mediums was ideal for me. From this discovery, I started a personal production. . - Are there key themes, messages or theories hidden in your work? If there is one recurring theme in my work, it is memory. Through 25 years of creation, I have approached this subject consciously or not in various forms. Most of the time working in series, this question of memory found expression in subjects such as the trace, faces and inner bodies (Growing-up series - Family), ghosts (Tired ghosts series), and more today through a set of landscapes (Entre Temps series). - Can you tell us a bit about your artistic approach? (Style, medium and specific techniques). I have a real predilection for painting, in its most classic form (painting on canvas). But I also like to work on volume, space and even sound. Realizing an exhibition with my paintings hanging on the wall is interesting but if I can invest a space by creating a complete scenography where I can immerse the spectator, the principle of the exhibition is transformed and becomes really fascinating. - Can you write a quote / phrase that best represents you as an artist (in your own words, 30 words maximum)? With the greatest sincerity, I seek to detect, to unravel what is hidden in me, around me, before my eyes, to better see the world in which I live and share it in return.

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