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Published by , 2015-03-04 07:30:57

catalogueGIRARD2015

catalogueGIRARD2015

“Ardoises I ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 138x 94cm

Year of production: : 2014/15

Price: 55,000.RMB

Cécile Girard

“Ardoises II ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 138 X 94cm

Year of production: : 2014/15

Price: 55,000.RMB

Cécile Girard

“Paysage d’eau I ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 86 X 72cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Paysage d’eau II ”

“”

Technique/matériaux
Ink Acrylique and Oil on Xuan paper

Dimensions: : 84 X 75cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Entrelacs I ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 138 X 94cm

Year of production: : 2014/15

Price: 52,000.RMB

Cécile Girard

“Entrelacs II”

“”

Technique/matériaux
Ink Acrylique and Oil on Xuan paper

Dimensions: : 138 X 94cm

Year of production: : 2014/15

Price: 52,000.RMB

Cécile Girard

“Foliage I ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 79 X 88cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Foliage II”

“”

Technique/matériaux
Ink Acrylic and Oil on paper

Dimensions: : 74X 84cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Foliage III ”

“”

Technique/matériaux
Ink Acrylic and Oil on paper

Dimensions: : 73 X 80cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Foliage IV ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 72 X 82cm

Year of production: : 2014/15

Price: 36,000.RMB

Cécile Girard

“Foliage V ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 80 X 80cm

Year of production: : 2014/15

Price: 33,000.RMB

Cécile Girard

“Foliage VI ”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 83 X 83cm

Year of production: : 2014/15

Price: 33,000.RMB

Cécile Girard

“Flora I”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 79 X 142cm

Year of production: : 2014/15

Price: 50,000.RMB

Cécile Girard

“Flora II”

“”

Technique/matériaux
Ink Acrylic and Oil on Xuan paper

Dimensions: : 81 X141cm

Year of production: : 2014/15

Price: 50,000.RMB

Cécile Girard

Bio
Born in 1973 in Mont-de-Marsan, France.
After training in photography, Yannick Verdier Monségur directed training in photo services, working in such
companies as Hachette Filipacchi, and then went on to work as a photo studio assistant. In 1998, he moved to
Tokyo to be a photographer in a photopress agency. His wealth of experience in the field allows him today to
work actively with France and Asia, especially China and Japan.
After a career in the world of media and illustration, he turned to fashion photography. There, he discovered a
world particularly favourable to the expression of his creativity. Meanwhile, he has continued to develop an ar-
tistic collection of various photographic approaches: black and white, cityscapes, nudes.
He is also the author of several books : Noa, Yin Yan Urbains, L’Esprit de Shanghai, Via Tokyo, Israël 60, Matsuri,
Tsukiji Market-Le ventre de Tokyo,YVM.

Exhibitions
2014 « Phoenix » Present Art Festival www.presentcontemporaryart.com ; curated collective exhibition,
Shanghai Pudong Library
2013 « YinYang Urbains » Rencontres Photographiques d’Art’lon, www.artlon-photo.be. ;
curated collective exhibition, Arlon, Belgium.
2012 « Sator Arepo »IPA International Photo Awards, Honorable mention
2012 «Urban Yin-Yang » Arcadie ; Solo Exhibition, Paris, France.
2012 «Urban Yin-Yang» FEPN Festival Européen de la Photographie de Nu ;
curated collective exhibition, Arles, France.
2012 «Deauville Night Time»Video ; « Plateforme » art magazine curated collective exhibition,Paris,France.
2011 «L'Esprit de Shanghai» Lazoukine Gallery ; Solo exhibition, Deauville, France.
2011 «L’Esprit de Shanghai-L ‘Esprit de Paris» Lipao-Huang Gallery ; Solo exhibition, Paris, France.
2005 « Via Tokyo » Manifesto Photo Festival ; curated collective exhibition –Toulouse, France.
2005 « Via Tokyo » Atmosphère en Images Photo Festival ; curated collective exhibition, Paris, France.
2004 « Hype Gallery » HP Muséum, ; curated collective exhibition, Palais de Tokyo, Paris, France.
1997 « Strip Tease » Mois bis de la Photo, Espace Nesle ; curated collective exhibition, Paris, France
1997 « Japon en Seine » ; Curated collective exhibition, Paris, France.
1995 «Les Mains» 50th years of Secours Populaire ; curated collective exhibition, Paris, France.
1994 «Sens-Images» Curated collective exhibition, France

Formation Parcours
1994 Photo School CEP3 Ivry-France
1994-96 Photo-studio Assistant.
1998-99 Agency Fujifotos press Tokyo
1999-2001 Agency Photononstop Paris http://www.photononstop.com/
2003-2011 Artdirection international http://www.artdirection-international.com/
2009-2011 Agence Larapixie Video

Cécile Girard




Cécile Girard

        /      /   

These paintings are born out of travel and the meeting of Asian and western civilizations.

The references underlying these paintings are taken from primitive Chinese characters, pictograms from the prov-
ince of Yunnan as well as mainly Byzantine and Coptic forms of Christian symbolism.

This graphic style, particularly highlighted by the special treatment of the material (various papers from China, Ja-
pan, Nepal and India) creates new textures combining Chinese ink, acrylic and oil.

The division of space is based on the principles of ornamental screens, which converge with those of the art of
stained glass.

The choice of tones, the increased use of outlining, as in the method of Chinese calligraphy, gives birth to a new lan-
guage combining the most ancient forms of Chinese and western symbolism.

In some of these paintings we see a gradual disappearance of the outline. Actually, it is no longer used as a systematic
divider of space but to emphasize volumes and increase the depth of the field. So we can say that the outline is sup-
planted by the subject, here revealed by a wrinkled look (superimposition of Chinese ink, oil, gouache, acrylic and the
appearance of collage) there revealed by the use of highlights which then emphasize the folds created by crumpling
the material.

If the colours have changed (the addition of gold, bronze and copper shades and pastel tones), then it is interesting to
note that they harmonize with the use of the blue-greens and orange-reds of Yunnan, always present in Cécile Gi-
rard's works.

In the series devoted to the constituent elements of Chinese landscape painting, the focus is more particularly on
mountains, rocks, water and trees. On the one hand, the water and the mountains are often compared in the repre-
sentation: "the water also has strange peaks. The stones are like big waves which whirl furiously and strike the moun-
tains". On the other hand, the representation of rocks and trees differs appreciably. In fact, to those with trees, which
suppose the growth of branches, proportions and strength are opposed to the representation of the rocks which then
plunges us into a starker universe. The gesture then abandons curves and flexibility, returning to the partitioning of
the space, featured in some of Cécile Girard's works.

The latest works of Cecile go back to the use of curves and adopt fully the techniques embedded in Chinese calligraphy
(calligraphy and painting). Though painting media still constitutes a dominant role in her work, she returns to the es-
sence of painting: to subjectively weaken space and depth of field, simplify elements to make more intuitive expression
and combine free lines with Zhongcai techniques, thus creating a brand-new deconstruction of the picture and ex-
pressing the most primitive strength. The artist seeks to keep flat space by practicing this unique technique which
has a plainer and simpler starting point.

It is by borrowing from the painting of Chinese landscapes that Cécile Girard has been able, by superimposing her
brushwork and her language on it, to find a new orientation.

Cécile Girard

        /      /   

Ces peintures sont nées de voyages et de la rencontre des civilisations asiatiques et occidentales.Les ré-
férences qui sous-tendent ces peintures sont issues de caractères primitifs chinois, de pictogrammes de la
province du Yunnan et de la symbolique chrétienne principalement sous les formes byzantines et coptes.
Ce graphisme particulièrement mis en valeur par le traitement spécifique du support (divers papier de
Chine, du Japon, du Népal ou d’Inde) crée de nouvelles textures associant l’encre de Chine,’acrylique et
l’huile.
Le découpage de l’espace s’inspire des principes des claustras, principe convergeant avec ceux de l’art du
vitrail.
Le choix des tons, l’utilisation renforcée du cerne selon la méthode de calligraphie chinoise donne naissance
à un nouveau langage associant les symboliques chinoises et occidentales les plus anciennes.
Dans certaines de ces peintures, on constatera une disparition progressive du cerne. En effet,celui-ci inter-
vient non plus en tant que découpage systématique de l’espace mais pour souligner les volumes et accroître
la profondeur du champ. On peut ainsi dire que le cerne est supplantépar la matière tantôt révélée par un
aspect parcheminé (superposition d’encre de Chine, d’huile, de gouache, d’acrylique et apparition du col-
lage) tantôt révélée par l’utilisation de rehauts qui
soulignent alors les sillons crées par le froissage du support.
S’il existe une évolution dans les couleurs (apport de nuances dorées, mordorées, cuivrées, et de tons pas-
tels) alors il est intéressant de noter que celles-ci s’harmonisent avec l’utilisation des bleus verts et rouges
orangés du Yunnan, toujours présents dans les œuvres de Cécile Girard.
Dans les séries consacrées aux éléments constitutifs de la peinture de paysages chinois, on s’intéressera
plus particulièrement aux montagnes, rochers, eau et arbres. D’une part, l’eau et les montagnes qui ont
souvent été comparées dans la représentation : « l’eau aussi a des pics bizarres. Les pierres sont comme
de grandes vagues qui tourbillonnent furieusement et qui frappent les montagnes ». D’autre part, la
représentation des rochers et les arbres qui diffèrent
sensiblement. En effet, à celle des arbres laquelle suppose croissance des branches, des proportions et des
forces, s’oppose la représentation des rochers, qui nous plonge alors dans un univers plus rude. Le geste
abandonne alors les courbes et la flexibilité pour revenir à un cloisonnement de l’espace propre à certaines
œuvres de Cécile Girard.
Ses toutes dernières œuvres constituent un retour àla courbe et àun geste ample emprunté àla calligraphie
chinoise, le trait est calligraphiéou peint. Si la matière domine toujours, Cécile Girard,en revanche revient à
l’essentiel : Elle affaiblit subjectivement l’espace et la profondeur du champ.
En simplifiant les éléments de peinture, elle crée une expression plus directe. Les lignes ouvertes se joi-
gnent avec la technique éclatante de Zhongcai ( , ce qui forme dans la peinture une nouvelle struc-
ture et présente une force originale. Ce trait unique exprime un motif plus dépouillé,lequel est soucieux de
préserver l’espace.
C’est en empruntant à la peinture de paysages chinoise que Cécile Girard a pu, en y superposant son trait et
son langage, y trouver une orientation nouvelle.

Cécile Girard

Cécile Girard


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