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Before anything else it's important to understand how my system operates. I use matrices
to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental.
Matrices are constantly reused, covered again and again by several layers of plaster, paint and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted.
But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I nd harmony between my discoveries and my plans.
I create problems and I solve them
In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s de ant reclamation of her own materials. The ruin is nature’s victory over human enter- prise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’.
This is what happens in my paintings. Look at them, they were repaired. They are vestiges, residues, archaeological nds. They are separate parts striving for unicity.
Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present.
The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures.
Build, destroy, rebuild
In my work the notion of un nished is essential. I act in a logic of construction, destruction
and renovation. To seize the key moment between the end and the revival. For me, the act
of painting is always a sweet war between what you show and what you hide, it's a re ection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.
Before anything else it's important to understand how my system operates. I use matrices
to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental.
Matrices are constantly reused, covered again and again by several layers of plaster, paint and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted.
But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I nd harmony between my discoveries and my plans.
I create problems and I solve them
In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s de ant reclamation of her own materials. The ruin is nature’s victory over human enter- prise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’.
This is what happens in my paintings. Look at them, they were repaired. They are vestiges, residues, archaeological nds. They are separate parts striving for unicity.
Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present.
The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures.
Build, destroy, rebuild
In my work the notion of un nished is essential. I act in a logic of construction, destruction
and renovation. To seize the key moment between the end and the revival. For me, the act
of painting is always a sweet war between what you show and what you hide, it's a re ection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.
Before anything else it's important to understand how my system operates. I use matrices
to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental.
Matrices are constantly reused, covered again and again by several layers of plaster, paint and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted.
But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I nd harmony between my discoveries and my plans.
I create problems and I solve them
In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s de ant reclamation of her own materials. The ruin is nature’s victory over human enter- prise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’.
This is what happens in my paintings. Look at them, they were repaired. They are vestiges, residues, archaeological nds. They are separate parts striving for unicity.
Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present.
The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures.
Build, destroy, rebuild
In my work the notion of un nished is essential. I act in a logic of construction, destruction
and renovation. To seize the key moment between the end and the revival. For me, the act
of painting is always a sweet war between what you show and what you hide, it's a re ection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.
Before anything else it's important to understand how my system operates. I use matrices
to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental.
Matrices are constantly reused, covered again and again by several layers of plaster, paint and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted.
But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I nd harmony between my discoveries and my plans.
I create problems and I solve them
In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s de ant reclamation of her own materials. The ruin is nature’s victory over human enter- prise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’.
This is what happens in my paintings. Look at them, they were repaired. They are vestiges, residues, archaeological nds. They are separate parts striving for unicity.
Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present.
The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures.
Build, destroy, rebuild
In my work the notion of un nished is essential. I act in a logic of construction, destruction
and renovation. To seize the key moment between the end and the revival. For me, the act
of painting is always a sweet war between what you show and what you hide, it's a re ection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.

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Untitled (Red Shelter)

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Untitled (Red Shelter) Painting

Antoine Puisais

France

Painting, Acrylic on Canvas

Size: 35 W x 51.2 H x 0.7 D in

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Artist Recognition

link - Featured in Inside The Studio

Featured in Inside The Studio

link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

Before anything else it's important to understand how my system operates. I use matrices to transfer on to canvas the results of my researches. Matrices are panels of plywood which act as stamps. So that what you see on these canvases is the result of a method of haphazard replication which leaves lots of room for the accidental. Matrices are constantly reused, covered again and again by several layers of plaster, paint and pigment. New paintings carry the scars of old ones. Old compositions help new compositions, everything is reinterpreted. But my work does not stop there. Once the painting is revealed, I take pictures of it and transform the images with processing software. A conversation then begins between the digital images and my studio work. Canvases are cut, turned and stuck together until I nd harmony between my discoveries and my plans. I create problems and I solve them In 1911, Georg Simmel claimed that architecture consists of a balancing act between the upward striving of the human spirit and the destructive forces of natural decay, for him, ruins represent nature’s de ant reclamation of her own materials. The ruin is nature’s victory over human enter- prise, he wrote, formed when nature transforms the work of humankind ‘into material for her own expression’. This is what happens in my paintings. Look at them, they were repaired. They are vestiges, residues, archaeological nds. They are separate parts striving for unicity. Each new painting is a playground full of possibilities and pitfalls. Each time, I tear away the canvas from its support, I discover the painting. From there, I act like an archaeologist who digs up elements from the past and connects them in order to understand the present. The result of this process is an endless procession of “accidents” and errors. I have to adjust to what I discover. I have to deal with organic reality. My project is not meant to show paintings but to show how paintings are conceived and created. To show what’s happening behind the last coat of paint. How images slowly fade to reveal structures. Build, destroy, rebuild In my work the notion of un nished is essential. I act in a logic of construction, destruction and renovation. To seize the key moment between the end and the revival. For me, the act of painting is always a sweet war between what you show and what you hide, it's a re ection of an interiority and, in this binary act of adding and eliminating, I am interested in what resists.

Details & Dimensions

Painting:Acrylic on Canvas

Original:One-of-a-kind Artwork

Size:35 W x 51.2 H x 0.7 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

In my work the notion of UNFINISHED is essential. These are VESTIGES of painting. DUG UP fragments, results of an ALMOST ARCHAEOLOGICAL search. Before anything else it's important to understand how works my OPERATING SYSTEM. I use MATRICES to transfer on canvas the results of these researches. Matrices are panels of plywoods which act as STAMPS.  This process of "archaic printing" is all messed up. So, each time, a lot of ACCIDENTS happen. And each time, I tear away the canvas of its support, I DISCOVER the painting.  From that process results a procession of lacks and errors. Paintings are then repaired, restored and recomposed from these fragments of images. I act in a logic of construction, destruction and renovation. To seize this key moment between the END and the REVIVAL. For me, the act of painting is always a soft war between what you show and what you hide, it's a reflection of an interiority and, in this BINARY act of adding and eliminating, I am interested in what RESISTS. -------------------------------------Selon Kakuzo Okakura (1862-1913) : « La vraie beauté ne peut être découverte que par celui qui mentalement complète l’incomplet, (…) et qui délibérément laisse les choses inachevées pour que l’imagination puisse jouer à les remplir. » Dans le travail d’Antoine Puisais, la notion d’ INACHEVÉE est primordiale. Ce sont des VESTIGES de peinture. Des fragments exhumés, le résultat d’une recherche quasi ARCHÉOLOGIQUE. Avant toute chose, il est important de comprendre comment fonctionne son SYSTÈME OPÉRATOIRE. Antoine Puisais utilise des MATRICES pour transférer sur toile le résultat des ces recherches. Les matrices sont des panneaux de contreplaqués qui agissent comme des TAMPONS. Ces panneaux sont continuellement RÉUTILISÉS dans une volonté de faire ressortir sur chaque nouvelles peintures les stigmates d’anciennes recherches. En ce sens, les peintures ne sont plus maitrisées mais au contraire « découvertes ». Antoine Puisais cherche à créer une DISTANCE entre ses intentions et le résultat obtenu. Entre ce qui est imposé à la toile et ce qui est finalement RÉVÉLÉ. De ce procédé résulte un cortège d’ ACCIDENTS, de « manques » et d’erreurs. Les peintures sont alors RÉPARÉES, restaurées et recomposées à partir de ces fragments d’images. « J’agis dans une logique de construction, destruction et rénovation. Pour saisir ce moment clé entre FIN et RENAISSANCE.

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Featured in Inside The Studio

Featured in Saatchi Art's curated series, Inside The Studio

Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in London, Brooklyn

Artist featured in a collection

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