{"id":411,"date":"2013-06-08T14:59:00","date_gmt":"2013-06-08T13:59:00","guid":{"rendered":"https:\/\/www.vincentdulom.com\/editorial\/?p=411"},"modified":"2026-07-15T00:27:27","modified_gmt":"2026-07-14T23:27:27","slug":"jai-tout-donne-au-soleil","status":"publish","type":"post","link":"https:\/\/www.vincentdulom.com\/editorial\/textes\/411","title":{"rendered":"J\u2019ai tout donn\u00e9 au Soleil&#8230; (FR-EN)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Par <em>Fabienne Fulch\u00e9ri<\/em><\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">La peinture de Vincent Dulom ne se donne jamais si bien \u00e0 voir que dans le silence, baign\u00e9e par une faible lumi\u00e8re. Comment poser des mots sur celle-ci sans la priver de son souffle&nbsp;? Comment porter un \u00e9clairage ext\u00e9rieur sans l\u2019affadir par une trop soudaine clart\u00e9&nbsp;? Trouver le moyen d\u2019entrer dans le vif du sujet sans inciser l\u2019\u00e9piderme, tenter d\u2019approfondir la question sans rester vainement en surface. La solution r\u00e9side probablement dans le r\u00e9cit de l\u2019exp\u00e9rience, celle que tout un chacun peut faire face \u00e0 l\u2019\u0153uvre, seul, sans aucun artifice et en toute humilit\u00e9. On se souvient toujours des rencontres avec les personnes qui vont tenir une place essentielle dans notre vie. Il en est de m\u00eame avec les \u0153uvres d\u2019art. Je me souviens donc pr\u00e9cis\u00e9ment de ce rendez-vous avec le travail de Vincent Dulom, de mon \u00e9tonnement d\u2019\u00eatre face \u00e0 une \u0153uvre qui imposait sa pr\u00e9sence \u00e0 travers son absence, d\u2019une \u0153uvre qui se d\u00e9robait, qui suspendait le temps et pourtant ne cessait d\u2019\u00eatre en mouvement\u2026&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">Dans le calme de l\u2019atelier, le dispositif \u00e9tait on ne peut plus simple, mais empreint d\u2019une certaine solennit\u00e9. L\u2019artiste discret, presque effac\u00e9, en retrait volontaire de sa peinture, me laissait libre de mon regard, offrant l\u2019espace n\u00e9cessaire \u00e0 une possible rencontre. Tous les \u00e9l\u00e9ments constituants \u00e9taient d\u00e9j\u00e0 l\u00e0 et par la suite, dans des contextes divers, j\u2019ai retrouv\u00e9 la marque de ce premier instant.<\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">L\u2019artiste cr\u00e9e pourtant des situations distinctes et varie les formats&nbsp;: des petits disques des \u00ab&nbsp;Lenticulaires&nbsp;\u00bb, diss\u00e9min\u00e9s dans l\u2019espace, aux grandes feuilles de papier qui supportent \u00e0 peine leur poids en passant par les pages famili\u00e8res du A4 simplement \u00e9pingl\u00e9es et \u00e0 peine contraintes. Le corps du spectateur est toujours invit\u00e9 \u00e0 prendre position, \u00e0 s\u2019approcher pour mieux circonscrire l\u2019\u00e9v\u00e9nement, tenter de le cerner ou de s\u2019en \u00e9loigner pour l\u2019appr\u00e9hender plus facilement dans sa globalit\u00e9. Mais que le point de vue soit en plong\u00e9e, en contre-plong\u00e9e ou frontal, le vertige est toujours pr\u00e9sent, la chute imminente. Le regard bascule dans l\u2019\u0153uvre et se perd au moment m\u00eame o\u00f9 il prend conscience de la juste place qui est la sienne. Le travail de Vincent Dulom nous parle d\u2019autant mieux du corps qu\u2019il est \u00e9tranger \u00e0 toute repr\u00e9sentation. La figure est absente. Peut-on d\u00e9terminer une forme en l\u2019observant attentivement ? On h\u00e9site \u00e0 qualifier ainsi ce vague halo que la couleur d\u00e9pos\u00e9e, on ne sait comment, esquisse \u00e0 peine. Une impression ? Le mot r\u00e9sonne comme le souvenir d\u2019un paysage iconique. Pas de ligne d\u2019horizon, mais une surface color\u00e9e qui se densifie et s\u2019illumine par endroits et finit parfois par dispara\u00eetre dans un dernier aveuglement. Le d\u00e9sir de connaissance se fait jour. On voudrait comprendre, entrer dans le secret de fabrication. On h\u00e9site \u00e0 poursuivre l\u2019investigation de peur de fr\u00f4ler le sacril\u00e8ge et on renonce, convaincu en d\u00e9finitive que la part de silence et d\u2019ombre r\u00e9side peut-\u00eatre autant dans l\u2019\u0153uvre que dans le discours qui l\u2019accompagne.<\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">La peinture de Vincent Dulom est donc une peinture qui s\u2019absente mais qui ne fait pas d\u00e9faut, qui ne se soustrait pas mais s\u2019additionne de multiples combinaisons et variables. La l\u00e9g\u00e8ret\u00e9 des mat\u00e9riaux qui la porte et l\u2019incarne ne peut masquer le poids de l\u2019histoire qu\u2019elle charrie, car si l\u2019\u0153uvre de l\u2019artiste n\u2019appartient pas \u00e0 un registre narratif, elle est tout sauf exempte de l\u2019histoire de l\u2019art dans laquelle elle s\u2019inscrit, de la plus ancienne \u00e0 la plus contemporaine. La palette para\u00eet souvent italienne, partag\u00e9e entre les bleus lumineux de Fra Angelico et les rouges profonds de Vittore Carpaccio, tandis que le clair-obscur est r\u00e9solument caravagesque. Certains des titres donn\u00e9s par l\u2019artiste semblent \u00e9galement compl\u00e9ter cette cha\u00eene qui relie \u00e0 travers les si\u00e8cles des cr\u00e9ateurs qui, quelles que soient leur ob\u00e9dience et la diversit\u00e9 de leur style, ont r\u00e9ussi \u00e0 exprimer leur singularit\u00e9 en revisitant les grands th\u00e8mes de la peinture religieuse. Une D\u00e9position, une feuille suspendue comme un voile de V\u00e9ronique\u2026 Des \u00e9l\u00e9ments qui apparaissent moins comme des \u00e9vocations que comme des indices susceptibles de r\u00e9veiller une m\u00e9moire commune qui par le truchement de l\u2019art rejoint tout simplement l\u2019exp\u00e9rience de l\u2019existence. Ce n\u2019est sans doute pas un hasard si les fondements de l\u2019art reposent sur le r\u00e9cit mythique d\u2019une absence qui devenant disparition engendre par substitution l\u2019apparition d\u2019une figure de remplacement. Dans son \u00ab Histoire Naturelle \u00bb, Pline raconte en effet qu\u2019une jeune fille s\u00e9par\u00e9e de son amant aurait ainsi fix\u00e9 l\u2019image de celui-ci en r\u00e9alisant \u00e0 partir de son ombre le contour de sa silhouette. Dans l\u2019histoire de la repr\u00e9sentation, l\u2019ombre est l\u2019attribut par excellence du corps vivant, la preuvea de son existence terrestre : les d\u00e9funts d\u00e9crits par Dante dans les cercles de l\u2019Enfer n\u2019ont pas d\u2019ombre, quant aux fameux Adam et Eve de la Chapelle Brancacci, chass\u00e9s du Paradis, ils sont peints par Masaccio avec une ombre port\u00e9e qui les ancre irr\u00e9m\u00e9diablement dans le r\u00e9el.<\/p>\n\n\n\n<p class=\"has-text-align-left wp-block-paragraph\">Je me souviens de ce premier rendez-vous avec les \u0153uvres de Vincent Dulom. Je marchais aupr\u00e8s des lenticulaires qui flottaient doucement dans l\u2019espace de l\u2019atelier. L\u2019artiste cherchait \u00e0 dompter la lumi\u00e8re du soleil qui jaillissait par les fen\u00eatres. Il fallait chasser les ombres pour mieux voir la peinture.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Paris, 8 juin 2013<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Pr\u00e9sentation de l\u2019exposition<em>&nbsp;L\u2019entre sourd ,<\/em><\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Centre d\u2019art contemporain La BF15, Lyon, 2013.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Commissariat : Perrine Lacroix<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fabienne Fulch\u00e9ri est commissaire d\u2019exposition et critique d\u2019art. Depuis 2010, elle dirige l\u2019Espace de l\u2019Art Concret, Centre d\u2019art contemporain \u00e0 Mouans-Sartoux (C\u00f4te d\u2019Azur). Elle a \u00e9t\u00e9 commissaire adjointe du Printemps de Septembre \u00e0 Toulouse, charg\u00e9e de la programmation de la Sala Montcada, Fondation La Caixa \u00e0 Barcelone; a conduit plusieurs projets pour le Pavillon, Laboratoire de cr\u00e9ation du Palais de Tokyo et a \u00e9t\u00e9 responsable de la Programmation Satellite du Jeu de Paume, \u00e0 Paris.&nbsp; Elle a con\u00e7u et organis\u00e9 diverses expositions, comme \u00abLa Confusion des sens\u00bb en 2009 et \u00abAnicroches\u00bb en 2011 pour l\u2019Espace culturel Louis Vuitton \u00e0 Paris.<br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\"><br><strong>The Sun took it all<\/strong><br><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">By <em>Fabienne Fulch\u00e9ri<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vincent Dulom\u2019s painting is best seen silently, enveloped in somewhat semidarkness. How to express the substance without taking away it\u2019s breath? Bring the work to light without it fading from too harsh a glare? Find a way to the heart of the subject without cutting into the skin, to delve into the question while respecting the surface. The answer lies in relating the experience, face to face with the work, up front, no tricks, cash. Everyone remembers the people you meet, whom become essential to your life. The same applies to art. I precisely remember my first meeting with Vincent, and my astonishment, while looking at his work, the contradiction of its presence was imposed by its very absence, I wasn\u2019t able to grasp what I saw, time stood still (an overused but necessary expression), yet in a dynamic, moving way\u2026<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The studio was serene, a bit solemn; the disposition was perfectly simple, evident. The artist was self-effacing, discreet, leaving me free to look, offering the necessary space to experience his painting. Everything that constitutes his work was there, and in the later expositions and manifestations, I always feel the essence of that first encounter.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">So said, the work is quite varied, in size and distinct propositions: from \u201cThe Lenticulaires\u201d (Lenslike makings) small disks disseminated in space, to huge pieces of paper acting almost wisplike, as well as the familiar notebook size sheets, pinned up just barely enough to stay in place. The audience can\u2019t help getting really close, trying to analyze what they\u2019re seeing, then, moving away, thinking it will clue them in to a bigger frame of reference, a better understanding of the work. But they are lost in a freefall, whether the point of view is a low-angle, head-on, or high-angle shot; the head spinning dizziness is always there, just about to knock you over. Losing the usual bearings, vision on the verge of tipping over, at the very moment you think you\u2019ve seized the fundamental nature of what you\u2019re looking at. The figure is absent. Vincent Dulom\u2019s work evokes the human body because it is non-representational. Can a shape be determined by intense, attentive observation? You cautiously say that there is a hesitant halo of color, vaguely left in place, but you can\u2019t explain how. Just an impression? The word sounds like the iconic reminiscence of a landscape. No horizon in sight, just a colored surface that intensifies, flashing in certain places, and then, sometimes, completely disappears. You want to understand what you\u2019re seeing, to be let in on the secret of fabrication. You hesitate to investigate, afraid to demystify what you\u2019ve experienced; you renounce, convinced that the mixture of silence and shadow lies as much in the work as in the accompanying explanation. &nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vincent Dulom\u2019s painting is a painting that disappears; not by subtracting itself in default, but by multiplying itself in a variety of combinations, through addition. The materiel that constitutes the work is as simple and unassuming as the history of art supporting it is complex and meaningful. Although completely un-narrative, it is imbued with art history references, from the most ancient, to highly contemporary. The palette of color seems quite Italian, swinging from Fra Angelico\u2019s luminous blues to Carpaccio\u2019s deep reds, while the chiaroscuro is resolutely Caravaggio. Some of the artist\u2019s titles are links to creators throughout the ages, who, regardless of their beliefs or the diversity of their styles, were able to express their singularity though the main currents of religious painting.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A Descent from the Cross, a sheet of paper in suspension like Veronica\u2019s veil\u2026 elements that are less invocations than they are indications, clues to a collective memory bank, which, through art, reach the life experience. It is certainly no coincidence that the fundamentals of art are based on myth referring to \u201cabsence\u201d. When filled, the void is replaced by a substitute. The replacement\u2019s appearance becomes the subject (of considerable significance when considering Dulom\u2019s painting). In Pline\u2019s \u201cNatural History\u201d, he relates the story of a young girl, who, when separated from her lover, conserved his image by making a silhouette from the contour of his shadow. Throughout the history of representation, shadows are attributed to living bodies, they are proof of existence in the real world: the dead described by Dante in Hell\u2019s circle have no shadow; depicted in the Brancacci Chapel, Masaccio\u2019s Adam and Eve have very real shadows that anchor them in the world as they are expelled from Paradise.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">I remember my first encounter with Vincent Dulom\u2019s work. The \u201clenticulaires\u201d were floating gently in the studio space as I walked around them. Sunshine was streaming through the windows and the artist was trying to subdue the light. The shadows had to be excluded in order to apprehend and experience the painting.<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Paris, June 8, 2013<br>Presentation of the exposition&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">\u201c<em>L\u2019entre sourd<\/em>\u201d (Between Deafening),<br>Center for Contemporary Art, La BF15, Lyons<br>June 2013.&nbsp;<em>Commissioner: Perrine Lacroix<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Fabienne Fulch\u00e9ri is an art commissioner and an established critic. Since 2010, she is the director of the Concrete Art Space, Center for Contemporary Art in Mouans-Sartoux (Riviera, France). She has commissioned many shows: September Spring in Toulouse, project head for the Sala Montcada, the Caixa Foundation in Barcelona; the Pavillon, Creative Laboratory of the Palais de Tokyo in Paris, as well as head of the Satellite Program for the Jeu de Paume, Paris. She has commissioned, organized and conceived varied expositions, such as \u201cThe Confusion of the Senses\u201d in 2009 and \u201cAnicroches\u201d (Snag) in 2011 for the Louis Vuitton Cultural Space in Paris.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">English translation: Linda Calderon<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Linda Calderon is an artist and univesity&nbsp;teacher, who has studied in the USA, the University of Paris 1 Panth\u00e9on-Sorbonne, the \u00c9cole Nationale sup\u00e9rieure des Beaux-Arts in Paris, and is currently pursuing her doctorate in art. She has exhibited widely.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Par Fabienne Fulch\u00e9ri La peinture de Vincent Dulom ne se donne jamais si bien \u00e0 voir que dans le silence, baign\u00e9e par une faible lumi\u00e8re. Comment poser des mots sur celle-ci sans la priver de son souffle&nbsp;? Comment porter un \u00e9clairage ext\u00e9rieur sans l\u2019affadir par une trop soudaine clart\u00e9&nbsp;? Trouver le moyen d\u2019entrer dans le [&hellip;]<\/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-411","post","type-post","status-publish","format-standard","hentry","category-textes"],"_links":{"self":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/411","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=411"}],"version-history":[{"count":5,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/411\/revisions"}],"predecessor-version":[{"id":674,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/411\/revisions\/674"}],"wp:attachment":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/media?parent=411"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/categories?post=411"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/tags?post=411"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}