François Rouan (1943)

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Lot n° 96
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Estimation :
12000 - 15000 EUR
François Rouan (1943)
Braiding, blue, pink and white, circa 1970 Mixed media on canvas (restorations and stains) 190 x 148 cm Provenance: Collection of M. Pierre Zanzucchi, Paris. "Superimpositions, knotting of one and the other, still images and moving images always seek the same unbreakable braiding of figure and background." François Rouan, born in 1943 in Montpellier and a French painter, photographer and video artist. He trained at the École des Beaux-Arts in Montpellier, then left for Paris in 1961. He continued his studies of Fine Arts in the capital, and made decisive encounters as to the artistic style that he adopted during his work. He met Claude Viallat, Daniel Buren and Michel Parmentier, with whom he developed a taste for the Support-Surfaces technique, a founding movement of contemporary art. He was strongly inspired by the work of Matisse at the end of his career, for his garish colours and the principle of cutting, which he used not to create a specific form, but to make the painting more complex. Winning a scholarship to the French Academy in Rome, Rouan flew to the Villa Medici in 1971, directed by Balthus, with whom he became particularly close. Like some of his contemporaries, Rouan did not only rub shoulders with painters, and he met Lacan, the famous psychoanalyst, who was to be a determining factor in his career, and who wrote a text for an exhibition, Intellectual Approach and Pictorial Transfiguration. François Rouan's work is characterized by the search for new experimental processes in order to create another dimension on his canvases. From incision, to surface covering, ivory to braiding, he multiplies the layers, the materials, the shapes and the colours present on his paintings. He became the master of this last technique, distinguishing him from his contemporaries and produced a large series of Braids . This particular technique allows us to glimpse the patterns, which fade under the layers of interwoven fabrics, creating a fragmented surface, where we cannot choose between the traditional surface and the one that partially hides it. Rouan pushes this technique further by choosing more and more complicated materials to mix, to push even further this art of appearance and disappearance.
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