Through “Blowing Sunset,” Steidz presents Gaëtan Henrioux’s pictorial work in the project room. Disseminating an aesthetic characterized by wild color, the painter establishes an ongoing dialogue between iconic references from art history and the prose nature of the contemporary world: without fear of anachronisms, he carries a fragmented and counter-narrative, of which he is the arbiter. .
Gaetan Henriques draws breathing. Freed from the original constraints of painting that anchor the medium in the representation process, he composes on canvas images of twilights intersecting figurative symbols and abstract signs, with a desire to develop his personal vision of humanity. His palette of colors is dominated by orange and red, which envelops the figures and objects he designs from acrylic in warm light: a kind of figurative fire delicately controlled by a blue-purple repertoire pulsing here and there, his burning images drawn with a brush or an aerosol..
Born in 1984 in Nîmes, Gaëtan Henrioux keeps a memory of his family home in Provence broadcasting and embracing his drawings. Distinguished by the copies of Monet, Renoir or even Van Gogh that decorated the walls of the lobby, he became imbued with the visual vocabulary of the Impressionists and their faded colors. Today, Gaëtan Henrioux revises this art history by playing the role of a matchmaker between the past and the contemporary; his network Vincent (2020) reduces an iconic masterpiece to a commemorative T-shirt status like one one finds in museum stores while sport shoes (2020) replaces the jugs and fruit components of Still life with blue tablecloth (1909) by Matisse by Pair of Boots. Through these transitions, Henrioux integrates consumer culture into a global pictorial tradition by forcing the ordinary viewer to become an observer of an artificial society..
The visual apprehension of Gaëtan Henrioux’s work is not limited to the role of examination. It also leads to enthusiastic voyeurs as the canvas, like a keyhole, invites us to sneak into scenes with exciting potential. yes some flowers (2018) expresses this interface without ambiguity by drawing hello (2020) formulates a more sensitive desire, guided by which to change nudity. Here the artist mixes historical references where the flowers partially conceal the body: details of a painting by Matisse and then a scene from the film Salou or 120 days of Sodom (1975) by Pasolini. This connection between the two inspirations writes a humility that evokes attraction, by concealing what the eye seeks to perceive.
Gaëtan Henrioux graduated from the Ecole Nationale Polytechnique and Crafts – Olivier de Serres in 2006, and participated in the Salon de Montrouge in 2013.. •
“Sunset Blowing” exhibition by Gaetan Henriques
Opening Friday 10 June 2022 at 6 pm
Exhibition until July 23, 2022
Steidz . project room
40, rue de Tourtille 75020 Paris