{"id":470,"date":"2024-02-01T21:40:00","date_gmt":"2024-02-01T20:40:00","guid":{"rendered":"https:\/\/www.vincentdulom.com\/editorial\/?p=470"},"modified":"2026-07-16T22:09:26","modified_gmt":"2026-07-16T21:09:26","slug":"du-temps-a-lautre","status":"publish","type":"post","link":"https:\/\/www.vincentdulom.com\/editorial\/textes\/470","title":{"rendered":"Dulom. Du temps \u00e0 l\u2019autre (FR-EN)"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Par <em>Maud de la Forterie<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">D\u00e9licates et contemplatives, les oeuvres de Vincent Dulom (France, 1965) invitent le regard \u00e0 une exp\u00e9rience physique et m\u00e9ditative o\u00f9 la notion de perception, loin de se limiter aux m\u00e9andres restreints de la seule observation, se prolonge et se propage dans le fertile creuset des sensations. Sur toile ou papier, des formes sph\u00e9riques et color\u00e9es naissent et s\u2019accordent au vibrato d\u2019ombres puls\u00e9es, happant l\u2019oeil dans le domaine du vertigineux o\u00f9 la peinture, toute empreinte de fluidit\u00e9, se met en mouvement et semble alors v\u00e9ritablement flotter, osciller, respirer. Elle s\u2019incarne dans un halo lumineux, di!us et color\u00e9, qui s\u2019ouvre sur une \u00e9tendue ouverte, insaisissable, illimit\u00e9e, tant sa continuation para\u00eet supplanter sa possible extinction en dehors du support. La partition paradigmatique traditionnellement \u00e9tablie entre l\u2019ombre et la lumi\u00e8re se retrouve comme abolie, si bien que leur mutuelle entente s\u2019\u00e9panouit dans des variations infinies au sein d\u2019une surface qui se densifie et s\u2019illumine par endroits avant de dispara\u00eetre dans un dernier \u00e9vanouissement. Les forces \u00e0 l\u2019oeuvre affirment ainsi leur interd\u00e9pendance et leur n\u00e9cessaire recours : l\u2019incandescence pr\u00e9c\u00e8de l\u2019\u00e9vanescence, l\u2019apparition s\u2019intensifie dans la dissipation tandis que l\u2019\u00e9blouissement ffleure de pr\u00e8s l\u2019aveuglement.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vincent Dulom se m\u00e9fie ainsi des v\u00e9rit\u00e9s fig\u00e9es, des id\u00e9es pr\u00e9con\u00e7ues, des pr\u00e9jug\u00e9s vite avanc\u00e9s et ses oeuvres semblent alors mues par des \u00e9nergies non pas contradictoires mais bel et bien scell\u00e9es dans leur polarit\u00e9. C\u2019est ensemble que ces derni\u00e8res cohabitent et se r\u00e9pondent sans pour autant jamais se confondre : plong\u00e9es dans un \u00e9tat gazeux et \u00e9th\u00e9r\u00e9 d\u00e9fiant le sentiment de gravit\u00e9, les surfaces ne sont ici marqu\u00e9es par aucun point d\u2019intensit\u00e9 et entretiennent avec les \u00e9l\u00e9ments qui les animent un rapport de parfait \u00e9quilibre. Car si les oeuvres affirment de prime abord leur pr\u00e9sence physique, quasi-objectale, c\u2019est pour ensuite entra\u00eener le regard dans un autre espace, un autre instant, un autre temps, plus vaste cette fois-ci. L\u2019intangible se manifeste alors dans tout le champ sensible d\u2019une mat\u00e9rialit\u00e9 mouvante et sublim\u00e9e, d\u00e9tach\u00e9e de tout sentiment d\u2019imm\u00e9diatet\u00e9.&nbsp;<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Renon\u00e7ant \u00e0 la composition, Vincent Dulom laisse en effet libre cours au pouvoir de fascination de l\u2019abstraction, lequel prend corps dans la distance et dans la retenue, dans un retrait du geste empreint de respect humble \u00e0 l\u2019\u00e9gard de son m\u00e9dium. Ses oeuvres sont ainsi produites par un d\u00e9p\u00f4t de pigments, unique et r\u00e9gulier, op\u00e9r\u00e9 au moyen m\u00e9canis\u00e9 d\u2019une imprimante. Leur poudroiement serr\u00e9 f\u00e9conde ainsi des contr\u00e9es lisses aux contours estomp\u00e9s, lesquelles laissent la possibilit\u00e9 aux formes circulaires de rayonner tandis que leurs qualit\u00e9s solaires, si ce n\u2019est atmosph\u00e9riques, irradient l\u2019espace au sein duquel elles prennent place. Sans limites, la peinture s\u2019\u00e9nonce alors comme une \u00e9piphanie dont le fragile suspens ramasse en lui sa propre apparition tout comme son effacement.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\"><br>artpress, n\u00b0518, F\u00e9vrier 2024, p. 79.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Maud de la Forterie est autrice et critique d\u2019art. Elle \u00e9crit r\u00e9guli\u00e8rement pour Artpress, L\u2019\u0152il, Transfuge, Artnewspaper\u2026 Elle a soutenu, \u00e0 la Sorbonne, sa Th\u00e8se de doctorat sur le travail photographique de Bill Brandt.<br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<h2 class=\"wp-block-heading\">Dulom. Du temps \u00e0 l\u2019autre<br><\/h2>\n\n\n\n<p class=\"wp-block-paragraph\">By&nbsp;<em>Maud de la Forterie<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Delicate and contemplative, the works of Vincent Dulom (France, b. 1965) involve the gaze in a physical and meditative experience in which the notion of perception, far from being limited to the restricted meanders of observation alone, extends and propagates in the fertile crucible of sensations. On canvas or paper, spherical, coloured forms are born and attuned to the vibrato of pulsating shadows, drawing the eye into the vertiginous realm in which the painting, imbued with fluidity, is set in motion and truly seems to float, oscillate and breathe. It is embodied in a luminous halo, diffuse and colourful, opening onto an elusive, unlimited expanse, its continuation seemingly supplanting its possible extinction outside of the substrate. The paradigmatic partition traditionally established between light and shadow is abolished, so that their mutual understanding blossoms into infinite<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">variations within a surface that becomes denser and brighter in places before disappearing in a final blackout. The forces at work assert their interdependence and their necessary recourse: incan poudroiedescence<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">precedes evanescence, appearance intensifies in dissipation, while dazzlement comes close to blindness.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Vincent Dulom is wary of fixed truths, preconceived ideas and hasty prejudices, and his works seem to be driven by energies that<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">are not contradictory, but positively sealed in their polarity. Together they coexist and respond to each other without ever blending<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">together: plunged into a gaseous, ethereal state that defies the sense of gravity, the surfaces here are not marked by any point of intensity and maintain a relationship of perfect equity with the elements that animate them. If the works initially assert their physical, almost object-like presence, it is only todraw the viewer into another space, another moment, another, vaster time. The intangible then manifests itself throughout the sensitive field of a moving and sublimated<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">materiality, detached from any sense of immediacy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Renouncing composition, Vincent Dulom gives free rein to the fascinating power of abstraction, which takes shape in distance and restraint, in a withdrawal of the gesture<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">imbued with a humble respect for his medium. His works are produced by a single, regular deposit of pigments, applied using a printer. Their tightly-packed powdering fertilises smooth lands with blurred contours, allowing the circular forms to glow, while their solar, not to say atmospheric qualities radiate through the space they find themselves in. Without limits, the painting becomes an epiphany whose fragile suspense<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">embraces its own appearance as &nbsp; well as its erasure.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">artpress, n\u00b0518, February 2024, p. 79<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u2014<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Maud de la Forterie is an author and art critic. She writes regularly for Artpress, L\u2019\u0152il, Transfuge, Artnewspaper, etc. She defended her doctoral thesis on the photographic work of Bill Brandt at the Sorbonne.<br><\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"https:\/\/www.vincentdulom.com\/editorial\/wp-content\/uploads\/2026\/07\/Maud-de-la-Forterie-FR-EN.pdf\" data-type=\"link\" data-id=\"https:\/\/www.vincentdulom.com\/editorial\/wp-content\/uploads\/2026\/07\/Maud-de-la-Forterie-FR-EN.pdf\" target=\"_blank\" rel=\"noreferrer noopener\">T\u00e9l\u00e9charger<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Par Maud de la Forterie<\/p>\n<p>D\u00e9licates et contemplatives, les oeuvres de Vincent Dulom (France, 1965) invitent le regard \u00e0 une exp\u00e9rience physique et m\u00e9ditative o\u00f9 la notion de perception, loin de se limiter aux m\u00e9andres restreints de la seule observation, se prolonge et se propage dans le fertile creuset des sensations. Sur toile ou papier, des formes sph\u00e9riques et color\u00e9es naissent et s\u2019accordent au vibrato d\u2019ombres puls\u00e9es, happant l\u2019oeil dans le domaine du vertigineux o\u00f9 la peinture, toute empreinte de fluidit\u00e9, se met en mouvement et semble alors v\u00e9ritablement flotter, osciller, respirer. [\u2026]<\/p>\n<p>Delicate and contemplative, the works of Vincent Dulom (France, b. 1965) involve the gaze in a physical and meditative experience in which the notion of perception, far from being limited to the restricted meanders of observation alone, extends and propagates in the fertile crucible of sensations. On canvas or paper, spherical, coloured forms are born and attuned to the vibrato of pulsating shadows, drawing the eye into the vertiginous realm in which the painting, imbued with fluidity, is set in motion and truly seems to float, oscillate and breathe. [\u2026]<\/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-470","post","type-post","status-publish","format-standard","hentry","category-textes"],"_links":{"self":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/470","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=470"}],"version-history":[{"count":15,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/470\/revisions"}],"predecessor-version":[{"id":912,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/posts\/470\/revisions\/912"}],"wp:attachment":[{"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/media?parent=470"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/categories?post=470"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.vincentdulom.com\/editorial\/wp-json\/wp\/v2\/tags?post=470"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}