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Philippe Decrauzat

* 8.6.1974 Lausanne, lives and works in Lausanne

  • Positive copy (Replica), 2019
  • Inkjet on Canson Baryta
  • Edition of: 22
  • Size: 60,00 cm x 46,00 cm
  • Production: PRO image service, Paris
  • CHF 440.00
  • available
  • Inquiry
  • Price without frame
  • Different time (Replica), 2019
  • Cibachrome (unique specimens)
  • Edition of: 11
  • Size: 32,50 cm x 22,00 cm
  • Production: Cadre en Seine Choi, Paris
  • CHF 1500.00
  • available
  • Inquiry
  • Price without frame
  • A frame in a frame in a frame (Replica), 2019
  • Inkjet on Canson Rag and PP (unique)
  • Edition of: 22
  • Size: 69,00 cm x 52,00 cm
  • Production: PRO image service, Paris
  • CHF 600.00
  • available
  • Inquiry
  • Price without frame

Philippe Decrauzat takes Mies van der Rohe's Barcelona Pavilion as the starting point for his new works. Above all, the three series of works are concerned with images of the marble façade of the later replica, a replica of the monument of the High Modern. In his film "Replica", created in 2019 for the institutional solo exhibition of the Blueproject Foundation in Barcelona, Decrauzat produced a 16mm colour film showing close-ups of the marble. Decrauzat, who devotes himself to the investigation of abstraction in the form of perception in everyday life - whether in architecture, science or language - deconstructs in his new works the materialities of architecture and those of film. This deconstruction takes place in three different forms: as a representation of the film in progress, as an image of a section of enlarged marble, and finally as the object of the film reel itself.
In the work Different Time (Replica), 2019, images of the film, which consists of individual shots, some of which are superimposed, were realized as cibachrome prints in eleven different unique copies. The exciting effect of the technique of cibachrome, which enables a positive-positive print, plays with the classical idea of inversion, which underlies many of Philippe Decrauzat's paintings. The dark outlines of the film roll, which give the works a marginal framework, function similarly to the artist's black wall sculptures, in which he redefines the idea of space as a canvas.
The work A frame in a frame in a frame (Replica), 2019 is an inkjet print based on the enlargement of a marble still from the film Replica. The marble is depicted in such detail that it could be abstract painting. Each work has a passe-partout specially designed by the artist, which always shows a different section and thus a different perspective on the materiality of the marble. Thus the works are conceptual, serial unique pieces that also function as installations in a group.
With Positive Copy (Replica), 2019, we are introduced to another dimension of the materiality of Mies van der Rohe's pavilion and its images. A green, snake-like circular form initially appears like an abstract painting by Decrauzat, but is a further representation of the pavilion and the film Replica. It is a film roll of "Replica", which was photographed on a white background.
With this series of works, Decrauzat explores narrative threads between objects and images. Images that today travel faster than the objects themselves create projections and abstractions of the true character of the objects, such as the Mies van der Rohe Pavilion, whose ephemeral archetype exists only as a photographic image or replica. Decrauzat thus investigates, as in his paintings and sculptures, the transformation of our perception and the material character of images.
Philippe Decrauzat's wall paintings, paintings, installations, films and sculptures are rooted in the heritage of 20th century abstract art and continue the search for visual distortion typical of Op-Art. More than a formal approach, for the artist abstraction is a method, a conceptual tool. Decrauzat's critical examination of the history of geometric abstraction draws its inspiration from various fields such as graphic design, architecture, science, music and cinema.

Since 2000, Philippe Decrauzat has been a professor at the École cantonale d'art de Lausanne (ECAL), where he received his diploma in visual arts in 1999. He is also a founding member of the independent art gallery Circuit, which has been operating in Lausanne since 1998. His works can be found in many international collections, including those of the MoMA in New York, the Museo de Arte Contemporáneo in Buenos Aires, the Kunsthaus Zurich and the Centre Pompidou in Paris.






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