Pierre Seinturier — The Little House they used to Live in — Galerie G-P & N Vallois — Exhibition — Slash Paris

Past: March 5 → April 10, 2021

Pierre Seinturier — Galerie GP & N Vallois La galerie gp & n Vallois nous invite à nous laisser happer par les vertiges de la figuration sauvage de Pierre Seinturier au sein de son exposition personnelle, suspendue pour le moment, The Little House they used to Live in qui, derrière la richesse et la prolixité de son univers, use de son hermétisme apparent pour mieux nous saisir et ancrer ainsi son imaginaire au nôtre, jusqu’à nous y fondre.

Interview Pierre Seinturier La galerie GP & N Vallois organisait depuis le 05 mars une exposition personnelle du peintre Pierre Seinturier qui y dévoile une œuvre monde où architectures et figures humaines émergent d’une nature vibrante qui impose son rythme et sa lumière dans l’espace. Nous revenons avec lui sur cette nouvelle série et sur son œuvre, marqué par une pratique essentielle du dessin qui nourrit son rapport à la composition.

Pierre Seinturier’s new exhibition might have been called “Fiat Lux”, such is the central place given to light — the guest of honour, the main key of his latest paintings. The artist has recently taken up photography. Perhaps one thing explains the other. The images that he captures and uses as sources and materials in future works reveal his formal obsessions: angular rooves, modern architecture, and rural and suburban landscapes are recurrent themes. Pierre Seinturier shoots in the old-fashioned way, with an analogue camera, and arranges his black and white and colour prints in chronological order, in numbered folders. His photography practice influences and informs his painting. He imagines and develops his paintings with his camera-eye, without giving them a photographic finish for all that — far from it. He frames his scenes, plays with contrasts and depths of field, alternates between blurry images and sharp focus, and captures light on the canvas. His great skies, painted in oil, take pride of place in his recent canvases, which are more luminous than ever. Their subtle shades, ranging from white to blue to very pale pink, catch the eye, making the rest — the plots and the stories that play out in their periphery — almost accessory, if not a foil. We can sense the pleasure he has taken in painting these vast empty flat spaces, in accumulating the layers and playing on the nuances of colour.