Press Release



Galerie Richard, Paris, presents a first solo exhibition of Rémy HYSBERGUE entitled    «Velours» a new series of acrylic paintings on silk velvet, from March 6 to June 13, 2021. Master in the art of the illusion that is that of painting, these paintings can only be revealed to the viewer  facing them.

 

We may wonder what the relationship is between the painting on polymethyl methacrylate, in other words a plastic mirror, presented at the gallery on the exhibition «Les Braves» in 2012 and his new paintings on silk velvet. In both cases it is a question of opening a new perceptual space. With the mirror, it is the physical space in front of the painting that penetrates visually in depth the painted space; with the velvet it is a dense, absorbing colored space, as well as in the most beautiful paintings of Rothko. Beyond technical mastery, it is the creation of a limited number of superimposed spaces that most surely characterize his works.

 

Space in itself, deep and dense, the velvet is dark from the front, gets lighter and takes its color seen from the side (if the lighting is frontal). The velvet is a monochrome except for the work entitled A39820 which presents colorful patterns spotted, real challenge to the artist. Rémy HYSBERGUE varies the width of the brush strokes as well as the amount of material deposited. His large brush strokes with little touch leaving little trace are particularly visually misleading.

From a distance or on a photo difficult to know if they are parts of velvet not covered by a very wide brush stroke or on the contrary the deposit of acrylic by light touch of the last layer. The creation of visual spaces also results from the composition with perspective effects in different places of the canvas thanks to recurring patterns that shrink and disappear in color intensity.

 

One can have the impression that a colored spot brings light on the painting, whereas it is not. Rémy HSBERGUE, as a finishing touch, sculpts with shaving light effects by depositing subtle spray paint jets. The artist likes to say that he paints the painting.

Another difficulty in seeing only images of the same size on screen or on reproduction is in the perception of the size of the paintings. It is easy to imagine that the more ‘calligraphic’ works, made up of few strokes of the brush, are all smaller, but they prove to be of all sizes. 

 

Rémy HYSBERGUE does not allow himself to be locked up in any system. As just in an all-over painting as in a sober painting with three strokes of brushes, his refined paintings reach maturity and for this they express and make share his true pleasure of mastering the possibilities of expression of his medium.

 

Born in 1967 in Valenciennes, Rémy HYSBERGUE is one of the most important abstract painters of his generation in France. He has exhibited in reference galleries, including Galerie Jean Brolly and Nancy Hoffmann Gallery. His works are in the collections of the Fonds National d'Art Contemporain, the collections of several FRAC, Musée Oohara in Japan.