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Louis-Paul OrdonneauHope and depths Louis-Paul Ordonneau Contemporary painting art sea seaweed blue2023
2023
About the Item
Oil paint on canvas
Hand-signed by the artist on the back
Louis-Paul Ordonneau is a French painter born in 1975.
He lives and works in Paris.
In 1999, he set up his studio in temporary and alternative places in the capital.
From that time on, the exploration of color was at the heart of his work. During one of his very first exhibitions, a visitor commented: "Too many colors in your paintings".
He chooses to assume this excess and make the exuberance of chroma a line of conduct, his path to freedom. In his artistic research, figuration is eclipsed in favor of a dense abstraction which does not deny reality for all that but throws on it the singular perspective of a gaze fascinated by colors: the gaze of a painter who persists whatever whatever the medium.
"Painting, for me, is more than ever going down into oneself"
“When you come to an exhibition, you expect to discover novelties and to see where the progress of the artist is.
This time for my exhibition at the Galerie Claire Corcia, there is no contemporary novelty, no assertive one-upmanship, no confirmation of belief, no certainty or coherence, no theory.
Because the surface of the lake is full of fallen leaves, it has a deep-water plunge.
Today I present a work of deconstruction that I carried out to return to the essence of my anima in creation, to extract it, and to see where it took me in painting.
Exposing my shortcomings, my contradictions, my attempts, my mistakes to share what we can learn from being put in danger, this is what I propose in this exhibition where those who have known my work since my beginnings do not will not find.
In this process, I stopped my paintings when I no longer understood them. I wanted to paint the unknown in the strongest sense. By focusing on this misunderstood, I believe that I am getting closer to myself. There is no longer an accumulation of references, nor "looking for Char-lie", nor even a demonstration of know-how or pareidolia. There is no longer any desire for progress or consistency.
Clearly I am showing difficulties. This is also a form of ethical requirement. It may be naive, but I also see a form of re-enchantment in it.
Ask yourself why we keep imprinted in our memory memories of meadows, rivers, seaweed, depths.
To paint, for me, is more than ever going down into oneself, because the surface of the lake is full of dead leaves and so you have to dive deep, where the imagination is no longer condemned by ridiculous torments. , even if it is at the risk of encountering a neutrality that could well make one think of nothingness.
In my paintings, one can believe that I repeat genres of landscapes with variations. It's the case. Everything remains to be done and everything will always remain to be done. It is a way of opposing the idea of a total theory in painting which is often satisfactory today. That such a fantasy can arise in people's minds says a lot about our time.
Any new artistic proposal is inevitably a mistake. So obviously I'm wrong but I'm surprised that it can surprise.
To paint is to accept being wrong. In a positive version, it is knowing that what you think you will find one day will be replaced the next day. I agree with this neat idea. Besides, tomorrow, we will go see a new exhibition.
I like anomalies and I hope my paintings are. The anomalies that we prefer are always those whose explanation we would like to know first. »
Louis-Paul Ordonneau, 2023
- Creator:Louis-Paul Ordonneau (1975, French)
- Creation Year:2023
- Dimensions:Height: 15.75 in (40 cm)Width: 23.63 in (60 cm)Depth: 1.97 in (5 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Paris, FR
- Reference Number:1stDibs: LU1034112016842
Louis-Paul Ordonneau is a French painter born in 1975. He lives and works in Paris. In 1999, he set up his studio in temporary and alternative places in the capital. From that time on, the exploration of color was at the heart of his work. During one of his very first exhibitions, a visitor commented: "Too many colors in your paintings". He chooses to assume this excess and make the exuberance of chroma a line of conduct, his path to freedom. In his artistic research, figuration is eclipsed in favor of a dense abstraction which does not deny reality for all that but throws on it the singular perspective of a gaze fascinated by colors: the gaze of a painter who persists whatever whatever the medium. "Painting, for me, is more than ever going down into oneself" “When you come to an exhibition, you expect to discover novelties and to see where the progress of the artist is. This time for my exhibition at the Galerie Claire Corcia, there is no contemporary novelty, no assertive one-upmanship, no confirmation of belief, no certainty or coherence, no theory.
Because the surface of the lake is full of fallen leaves, it has a deep-water plunge.
Today I present a work of deconstruction that I carried out to return to the essence of my anima in creation, to extract it, and to see where it took me in painting.
Exposing my shortcomings, my contradictions, my attempts, my mistakes to share what we can learn from being put in danger, this is what I propose in this exhibition where those who have known my work since my beginnings do not will not find.
In this process, I stopped my paintings when I no longer understood them. I wanted to paint the unknown in the strongest sense. By focusing on this misunderstood, I believe that I am getting closer to myself. There is no longer an accumulation of references, nor "looking for Char-lie", nor even a demonstration of know-how or pareidolia. There is no longer any desire for progress or consistency.
Clearly I am showing difficulties. This is also a form of ethical requirement. It may be naive, but I also see a form of re-enchantment in it.
Ask yourself why we keep imprinted in our memory memories of meadows, rivers, seaweed, depths.
To paint, for me, is more than ever going down into oneself, because the surface of the lake is full of dead leaves and so you have to dive deep, where the imagination is no longer condemned by ridiculous torments. , even if it is at the risk of encountering a neutrality that could well make one think of nothingness.
In my paintings, one can believe that I repeat genres of landscapes with variations. It's the case. Everything remains to be done and everything will always remain to be done. It is a way of opposing the idea of a total theory in painting which is often satisfactory today." Louis-Paul Ordonneau
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