Frédéric HOUVERT

그가 그녀를 맞이하는 순간... 질척한 페인트가 몇 번의 손놀림으로 그녀를 만족시키는 순간... 빠른 놀림의 그의 어루만짐은 그녀를 곧 절정에 도달하게 하고야 말고 이제 그녀는 여느 처녀가 아닌 제법 멋들어진 살롱에 앉아 조금 전의 환희를 혼자 맛 볼 줄 아는 그야말로 여인의 자태를 보여준다. 오래된 관례로 지어진 숭고한 그녀의 드레스 주름자락은 우리를 이유 없이 매혹시키고 그러한 그녀의 자태에서 어느 순간도 우리는 그녀를 거리의 여자 또는 많은 이야기 거리가 많은 마녀로도 의심 하지 않는다. 그냥, 지금 이순간은 너무나 매혹적인, 당신이 소유하고 싶은 여인일 뿐이다. 적어도 그녀를 마주한 당신에게는. ■ 이섬

Frédéric HOUVERT_갤러리 꽃_2007

Frédéric HOUVERT_2,3 diptyque_아크릴채색_199×94cm, 196×84cm_2005

Frédéric HOUVERT_무제_Polaroid_2005

Frédéric HOUVERT_무제_아크릴채색_150×100cm_2006

Frédéric HOUVERT_무제_아크릴_170×150cm_2006

Fréd éric Houvert develops two parallel artistic steps, one in painting and the other in drawing. His two plastic approaches in complete opposition allow him a great freedom of creation and duplicate his sensitivity to leave room to introspective and instantaneous moments in drawing and other more reflexive moments in painting. The only common denominator to his two practices is the use of the recurring and expensive floral paterns to his personal mythology. In painting, Fréd éric Houvert approaches the painter Christopher Wool by the decorative side in a different way with the usual rigour of the decorative reasons, by the overprinting of paintings and the run-outs, by the stencilling process always adapted to the format of the panting. He also approaches the movement patern painting, in the same way by the use of floral decorative patern and by the stencilling process. ● In his painting, the profusion of elements which are incorporated constitutes the painting. The use of the prepared canvas on a fabric glossy or on a bare canvas shoaaws the think of the paint at the beginning of his work, then leaves only one dubious marque without run-out as the end. Sometimes on the middle of his painting, the painter replonge his brush in his mixtures for covering again, covering the fabric or the first passages. There is never a rigorous method held for each table. However in time, its tables seem to have been simplified. There is less of passages to see a single passage, and the colors they also are restricted in the tone lights. ● The matity and the brightness merge sometimes within the same painting, just like the matters acrylic or glycerophthalic paint what creates, inaccuracies and make disappear sometimes the decorative reason. The formats of its paintings at the beginning were of reasonable size for an interior and thus to adhere to the idea of a middle-class but unconventional decorative painting. Its paintings changed format to go towards the monumental one and to overflow of the wall but never to be made wall. Its projects turn now to the wall-painting. In his drawings, Fréd éric Houvert lets himself guide by his intuitions. It is often a question of a small object, an animal, a drawn flower in an almost awkward way. One finds there two characters dialoguing between them in a quiet and floating way in space of the sheet, the scales referring to Deepeupleur of Samuel Becket, a nut found by ground and reproduced in an obsolete way, a woman with the explicit attitude, a sheet or a flower of imagination? ● The loneliness of these small troughs us back to our own abandonment, with our errance. The figure is in the medium of the sheet, a kind of target where? He always returns like trying to include/understand and to seize its goal. Often he leaves as impression of loneliness and of vacuum but it can also ravir us. The feature is light, sometimes unperceivable. The uncertainty of the drawing, its brittleness are put forward to recall us that a drawing even art is not a great speech and does not have a conclusive aiming. It is one moment of great freedom and fold on oneself, for better perceiving these small things which surround us and which return to us humble. The drawings are traces of moments of intimacy and silence. The purpose of those of Fréd éric Houvert are not to reinvent the drawing, they exist like during intuitive with its painting. The work of Fréd éric Houvert takes place by process of subtraction. It tries to simplify and make malleable the tradition of decorative painting in parallel of the drawing. It fills silences while releasing from the moments of lost noises and agitation. There is a kind of nostalgia for these moments of passive contemplation of childhood where the desire to see and include/understand takes all our time. Our glance can then begin again of its insurance on the things which surround us by keeping these sharp interrogations. ■ Guillaume DORVILLE

Vol.20071206c | Fréd éric HOUVERT 회화展