Par Antoine Camenen<\/p>\n\n\n\n
Dans sa p\u00e9r\u00e9grination artistique, Vincent Dulom s\u2019est d\u00e9barrass\u00e9 de toute notion de style, pour rester \u00e0 distance de l\u2019\u0153uvre et mieux en accompagner les occurrences. Il produit des peintures en d\u00e9posant en un passage unique, sur la toile ou sur le papier, une pellicule de pigments par le biais d\u2019une imprimante ; formant un halo ou une nappe color\u00e9e \u00e0 la surface du support. Le proc\u00e9d\u00e9 de l\u2019artiste, plein de retenue, peut ainsi laisser la forme \u00e9merger seule et offrir ses variations infimes. S\u2019ensuivent, pour le-la spectateur-rice comme pour l\u2019artiste, des rencontres \u00e0 l\u2019int\u00e9rieur de ce travail, des ph\u00e9nom\u00e8nes advenant sans pr\u00e9venir, au cours du temps pass\u00e9 avec lui : l\u2019apparition d\u2019une ombre au centre du halo, par exemple, ou la dissipation progressive de ce dernier \u00e0 force d\u2019\u00eatre soutenu par le regard. Le transcendant devient simple contingence, il peut appara\u00eetre ou dispara\u00eetre dans les limites du champ sensible. Son \u0153uvre permet de penser dans la perception de l\u2019instant un ailleurs et un temps plus vaste. L\u2019exp\u00e9rience de chaque peinture implique le corps du- de la spectateur-rice, qui doit chaque fois se placer par rapport \u00e0 elle, afin de l\u2019\u00e9prouver ; c\u2019est \u00e0 son rapport physique au monde, qu\u2019elle en appelle. Le devenir de ses \u0153uvres est une affaire de coordonn\u00e9es et de points de vue ; de positionnement dans le temps et dans l\u2019espace \u2013 en bref, il assume la dimension tragique de l\u2019existence. Quant aux dessins, faits de tiges souples de m\u00e9tal, ils se performent et prennent forme \u00e0 la mani\u00e8re d\u2019augures, laissant le geste, et la r\u00e9sistance de l\u2019air, agencer des lignes dans un cadre arbitraire, gr\u00e2ce \u00e0 des protocoles volontairement approximatifs. Car les rencontres ne peuvent se jouer qu\u2019au c\u0153ur de l\u2019approximation ; et l\u2019\u0153uvre doit demeurer ouverte.\u00a0<\/p>\n\n\n\n
texte de pr\u00e9sentation de l\u2019artiste, L\u2019ahah, 2019
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On the Work of Vincent Dulom<\/strong><\/p>\n\n\n\n By Antoine Camenen About the artist, for L\u2019ahah, 2019<\/em><\/p>\n\n\n\n \u2014<\/em><\/p>\n\n\n\n English translation : John Tittensor<\/em> Par Antoine Camenen Dans sa p\u00e9r\u00e9grination artistique, Vincent Dulom s\u2019est d\u00e9barrass\u00e9 de toute notion de style, pour rester \u00e0 distance de l\u2019\u0153uvre et mieux en accompagner les occurrences. Il produit des peintures en d\u00e9posant en un passage unique, sur la toile ou sur le papier, une pellicule de pigments par le biais d\u2019une imprimante ; […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[6],"tags":[],"class_list":["post-409","post","type-post","status-publish","format-standard","hentry","category-textes"],"_links":{"self":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/409","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/comments?post=409"}],"version-history":[{"count":7,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/409\/revisions"}],"predecessor-version":[{"id":666,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/409\/revisions\/666"}],"wp:attachment":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/media?parent=409"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/categories?post=409"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/tags?post=409"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
In the course of his artistic peregrinations, Vincent Dulom shed all concept of style in favour of detachment from the artwork and better control of its occurrences. He produces paintings at a single stroke by using a printer to lay a film of pigments on paper or canvas, the result being a halo or a layer of colour. Exemplary in its restraint, this procedure can allow the form to emerge alone with all its tiny variations. This is followed, for artist and viewer alike, by encounters within the work, phenomena happening out of the blue during the time spent with it: a shadow taking shape at the centre of the halo, maybe, or the gradual dissipation of the halo under the unrelenting pressure of the gaze. The transcendent becomes mere contingency, capable of appearing or disappearing within the boundaries of the sensory domain. Dulom\u2019s work lets you conceive, in the very moment of perception, of a somewhere else and a vaster time frame. The experience of each painting involves the body of the spectator, who must, each time, measure him- or herself against it; the summons is to one\u2019s physical relationship with the world. The evolution of Dulom\u2019s works is a matter of bearings and points of view, of positioning in time and space: in short, he accepts the tragic dimension of existence. The drawings, made of flexible metal rods, do the necessary and take shape like omens, leaving the creative act and the resistance of air to arrange them into lines in an arbitrary setting following deliberately approximate protocols. Encounters can only happen at the core of approximation; and the artwork must stay open-ended<\/p>\n\n\n\n
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