Discover the contemporary work of Alexandre Rondeau

Né in 1968 in Senlis, Graduate of Fine Arts of Paris, Claude Viallat workshops, License in Plastic Arts-Paris 1-La Sorbonne,

Graduate of Fine Arts of Angers, Jean Pierre Pincemin workshop, meeting with Phillipe Cogné, Bernard Moninot, Hélène Delprat.. Head of the Engraving/lithography workshop of the School of Fine Arts of Saint Brieuc since 2003.

I have the feeling that each painting exists and differs from the others because they hold what I will call “principles”. They are not subjects, even less patterns, they are shapes, lines, something more strange and elusive. The impalpable is present and has no links with the representation or its absence. In my work I regularly find myself at a loss. paint without succeeding in identify these «  principles », I then see paintings, engravings moving forward, paradoxically without anything, everything is floating, tossed around, twisted. Everything is covered, superimposed, uncovered, erased, scratched, glued together. printed, a real work of archeology, by strata..I ended up calling these things “paintings”. Time always passes slowly, over several months, seasons, years. I find them again, I take them again for long periods of time. The work begins at even the ground, even on the ground. flat. This occupation of land and space leaves me little room to work. This spatial restriction forces me to moving around, inside, making paths.  This uncomfortable installation forces me to work constantly in balance. My work tools are always varied. Brushes do not have a monopoly, there are also spatulas, squeegees, branches, papers, rags... Everything I find around me can be used as a tool. The colors are all carefully chosen and manufactured. Powdered pigments, natural or synthetic, colors in tubes, pots, inks,... they are chosen with precision and often in pairs. I avoid black out of play. On the other hand, white remains very important. For a long time I loved making of « beautiful funds » white, totally irregular so that they become a gold mine of reliefs, irregularities and inspiration in which the color infiltrates. The binders are obviously present to fix the pigments, but not only.nThey may vary. They are chosen for their reaction and rendering properties. Their qualities of transparencies, thicknesses, more or less rapid drying, their matte, glossy, satin renderings, their textures too. Other materials can be used, paper, sand, dust, fabric, glass cloth... Time is determining, I work very slowly, in layers, ; the successions of layers, drying, mixtures will evolve, play, change, modify over time.