Portfolio Xavier Pinel english version 2023 .pdf


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XAVIER PINEL (XP)

I was born in 1983 in Castres, a town located in the southwest of
France. I grew up nearby in a small town nestled beneath the
Montagne Noire. Subsequently, I left my hometown to study
mathematics at the Paul Sabatier University in Toulouse. In 2019, I
made the decision to conclude my career as a mathematician and
fully dedicate myself to an artistic activity. The notion of perception
is the core of my artistic practice. Initially, I was mainly painting, but
now video, installation, digital art or performance are supporting my
exploration of dismantling the concept of reality.

The world constantly overflows
our
conscious
experience
without triggering a genuine
emotion within us. Reason leads
to easily admit that our senses
perceive a fraction of this
vastness. A shiver runs up our
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spine, daily metaphysical vertigo.
Once more, a dilution into
reality occurs afterwards. The
earthworm keeps burrowing its
gallery, resuming the methodical
peeling of a turnip without even
realizing that its spherical shape
mirrors that of the celestial body
beneath our feet.
Never mind…
Perhaps I should continue in this
manner: beyond the limitations
of the human perception,
constrained by hearing, sight or
touch, the words we employ to
describe the world are bound by
the concepts they represent.
Multiplicity is shrinking
to
stereotypes
every
passing
moment.

The time to catch our breath,
the very possibility to express
ourselves clearly has brutally
vanished. Let’s try another
language ? Ça ne fait qu’empirer
les choses, la rédaction de ce
texte me le démontre. No ! The
impasse widens! Oh ! But­why­
did­I­not­think­of­it­sooner?!
There is a means to liberate
communication
from
its
conscious meaning : artistic
creation.
These afterthoughts kind of
justify my artistic engagement
and the current direction of my
artistic practice.
Visual arts enable to transcend
the personal content of the
language concepts, yet the
limitations of our consciousness
remain. My creations are
founded upon this statement ! If
the “thing­in­itself” from the old
Kant, the reality beyond the
sensitive experience, cannot be
attained, let’s at least question
reality
through
its
dramatization.
In my paintings, I encapsulate
the world experience within
colored stains dispersed on an
unattainable reality depicted in
black and white. These stains
can embody the characters’
vision within the painting
through their silhouettes. It is a
way to multiply points of view on
a scene and to bring up to date
the inquiries of the European
avant­gardes at the dawn of the
twentieth century. In another
series of canvases, sparse
splashes
on
a
religious

architecture reveal the human
appoach to perceiving reality,
akin of incidental stained glass
opened on our opinions and
beliefs.
In my videos, time is a direct
shortcut to stage the elusive
nature of consciousness. Some
of my videos share the same
aesthetics of my paintings
featuring colorful silhouettes in
a black and white background.
Others play with the notion of
concept. I enjoy to trick artificial
intelligence on its “perception”
in short sequences. A video
installation dedicated to the
allegory of Plato’s cave fulfills
this intention. Lastly, my rencent
videos try to freeze time, the
film is then considered as a
three­dimensionnal object and
is segmented into temporal
slices.
In my performances, I am playing
with the ritual aspect of
performance art to once again
question our relationship with
reality. A new paradigm of
reality, alternative to the one of
the usual social life, appears
during the time of performance ­
I can play with a plastic horse in
front of other adults. My stream
of consciousness can also
become the focal point of the
action
expressed
through
written or musical improvisation
sessions. Lastly, I employ
performance as a showcase for
my creative act to contemplate
how we perceive an artwork or
consider its hypothetical value.
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PAINTINGS

The real as a consensus between
our phenomenal representations –
The Beach,
2021, acrylic on canvas, 80 x 80 cm

8

The real as a consensus between
our phenomenal representations –
The Dream,
2023, acrylic on canvas, 66 x 66 cm

9

Above :
The real as a consensus between
our phenomenal representations –
Acrobatic cycling,
2021, acrylic on canvas, 80 x 60 cm
10

Next page :
The real as a consensus between
our phenomenal representations
– The Mirror,
2021, acrylic on canvas, 80 x 60 cm

11

Above :
The real as a consensus between our
representations – The Magic Trick,
2021, acrylic on canvas, 80x100cm

phenomenal

Page opposite:
Details of the painting The real as a consensus between our
phenomenal representations – The Magic Trick,
2021, acrylic on canvas, 80x100cm
Next pages:
The real as a consensus between our phenomenal
representations – The Meal,
2022, acrylic on canvas, 89x150cm
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14

15

The reality is an ocean of which we
have received only a few drops,
2019, acrylic on canvas, 100 x 80 cm

16

Superfluous tear in an excessively
reproduced Manichaeism,
2019, acrylic on canvas, 100 x 80 cm

17

Above:
Inverse problem in theodicy ­ The Jacobins, 2020
Linocut printed on Fabriano Tiepolo 130 g/m2 paper, 70 x 50 cm.

Opposite page:
Inverse problem in theodicy ­ Saint­Etienne Cathedral, 2020
Linocut printed on Fabriano Tiepolo 130 g/m2 paper, 70 x 50 cm
18

Flowered and fragmented ceiling,
obscure for one moment the rays
of the son of Heaven
2020, acrylic on canvas, 80 x 80 cm

21

Metaphysical randomization –
Notre­Dame de Reims
2020, acrylic on canvas, 70 x 50 cm

22

Luminous rosettes and sharp arches
prepared to tear through the firmament,
2021, acrylic on canvas, 80 x 60 cm

23

VIDEOS AND
INSTALLATIONS

Screenshots from the video Aquatic Ubiquity, 2022, 16/9
format, 12s loop
24

Video installation République 512a installed in the exhibition space of Gallery 3.1 in Toulouse. It
consists of 2 video projectors, 3 television screens, a camera, 2022

Screenshots from various synchronized videos of the video installation République 512a, 2022, 9/16
format, 9 minutes
25

Next page:
Video installation
Homographic Palfrey,
2022, acrylic ink on canvas,
plastic horse figurine,
television screen, 90x160cm,
25s looping video.

Opposite:
Screenshot from the video
Promethean Soots, 2022,
9/16 format, 5 minutes

26

Above:
Screenshot from the
video Monads: Horses,
9/16 format, 11s, 2023

28

Next page:
Screenshot from the video
Sylvan Rotation,
9/16 format, 17s, 2023

29

Captures d'écran de la vidéo L'Horizon des Evénement ­ Boulevard de la gare, format : 40/9, 1 minute,
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, 2023.
31

PERFORMANCES

32

Previous page:
Photo taken during the
performance Painting is meant
to be seen in person!, 2023

Above:
Photo taken during the
performance
The Call of Kelly, 2023

33

Above:
Photos taken during the sequenced
performance Scribe of the Abyss, 2022
34

Next page:
Photo taken during the performance
Devotion, 2022.
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