Press Release



 Galerie Richard, Paris, presents a personal exhibition by Rémy Hysbergue entitled “Velours”, a new series of acrylic paintings on silk velvet, from March 6 to April 18, 2021. Writing from pictures of paintings seen on computer screen, I claim the indulgence of the reader. The painting of Rémy Hysbergue, in particular, requires to be seen physically with its size and materials.

 

At first glance we may wonder what the relationship is between the painting on methyl polymethacrylate, 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 visually penetrates deep into the painted space; with velvet it is a dense, absorbent colored space, as well as in Rothko’s most beautiful paintings. Beyond technical mastery, it is the creation of a limited number of spaces superimposed (often three, the number of planets from which the chaos theories discovered by Raymond Poincaré apply) , which most certainly characterizes his works.

 

Matter, light, space are the terms that recur most often in the writings on the works of this painter. We often start by talking about matter because it is the last layer, the most obvious to impose itself in the eyes, whereas we should probably end with it. Space in itself, it creates by hiding the spaces below. It happens rather rarely to become the main space, especially in A40020. It presents itself as a skin, which plays with our gaze to perceive what is hidden, visible in the interstices, the folds, the tears. It’s a reverse eroticism. On the light background slightly degraded to define a three-dimensional space, the black curves which themselves cover another color (which detaches them from the background), define by their curvature a curved space which can induce to associate the first layer. It was only by greatly enlarging a white trace detail of the painting that I realized my error. My so-called skin, the first space or layer is actually the last, the silk velvet. he black traces of a large brush stroke on the velvet are stunning.

 

In several works Rémy Hysbergue reproduces a wide-angle perspective by the repetition of the same successive touches that grow or shrink according to the desired perspective effect. In the dark paintings one thinks of the effects of waves illuminated by the moon and the flash for the foreground in the sea at night, in particular for the work A38220. In A36420, there is almost a horizon line in the darkness of the painting in its center, stopped by an enigmatic vertical space. There may be a mid-height horizon line effect also in the A39620 painting, a magnificent work, rich in diverse and disorienting perspectives.

 

A relative difficulty in seeing only images of the same size on screen is in the perception of the size of the paintings. Deceived by the larger format and by the size of the red central space, I thought the work A40920 larger. It is easy to imagine that some of the more ‘calligraphic’ works, composed of very few brush strokes, are smaller, but they prove to be of all sizes. Rémy Hysbergue does not allow himself to be locked up in any system.

As comfortable in an all-over painting as A39720 as in a sober painting as A39320, his refined paintings reach maturity and for this they express and share his true pleasure of mastering the possibilities of expression of his medium.

                                                   

                                                                                                               JLR, March 1st