CLAUDE DAUPHIN SOUS LE SIGNE DE MIMÉSIS
For his first exhibition in Paris, Claude Dauphin presents from March 11th to April 8th at Galerie Richard a groundbreaking collection of full sized paintings, the most recent of which demonstrate in spectacular fashion his unique research into the use of colors as visual matter.
Claude Dauphin has mainly exhibited in Switzerland, where he gained recognition through various public and private exhibitions, such as the Mag Stravinsky, KunstZürich or the Valette Foundation to name but a few. For his first exhibition in France, the artist is pleased to publish a brand new catalogue, which demonstrates his very personal creative style. Claude Dauphin was born on August 9th, 1963 in Aigle (canton of Vaud, Switzerland). Based in Granges, in Valais, where he has worked and lived for several years, Claude Dauphin belongs to a generation of artists who make skillful use of innovative techniques in order to transform their discipline as painters. A self-taught artist, Dauphin’s unusual creative method involves the use of polyurethane pigments on sheets of aluminium or Dibond. In line with an artistic style that it has promoted from its very beginnings, Galerie Richard is pleased to exhibit the works of the artist, Claude Dauphin, with the interest which it has always aimed to develop for the most characteristic representatives of the third dimension in painting as demonstrated by other artists such as Jeremy Thomas, Bram Bogart, Takesada Matsutani, Norio Imai, David Ryan or Sven-Ole Frahm…
The narration, it is the material!
Born from an experimental, multi-pigment gush, the work of Claude Dauphin is thereby presented in Paris, in the heart of Marais, in his most recent pictorial expression, brilliant and prospective. On each occasion, the Swiss painter takes a fresh look at his artwork in all sincerity, conferring on it a sort of brand new existence within the space it takes up and with the very lively or somber colors that he applies. They look like confessions, cries, murmurs, anecdotes, songs, or visions to meditate over. As a representative of lyrical abstraction, Claude Dauphin is interested in the richness and the lively depth of the color resulting in unusual compositions. In addition to the spatial solutions that he puts into practice, he focuses his work on the immediacy and the transformation of the medium. His practice is an original one with intuitive creations, which brings him closer to the Action Painting of Clyfford Still just as to the gestural art of Shozo Shimamoto of the Gutai movement.
For Claude Dauphin, painting is an inevitable fact which he develops each day with the conscience of an artist at work with his tools and functional materials. Although they are kept secret in his workshop, his operational principles begin with the application of primary colors on thin aluminum sheets of varying sizes, on which mysterious compositions take shape around small islands which are formed and then distorted by the organic impact of the material which he continues to work with and perfect up until it finally dries out. With a sharp or critical eye, the artist thus operates singular transformations on the metallic frame, his paintings always becoming a phenomenon visual intensification. In itself, it is an operating mode authorizing the artist to subject the frame of the painting and its plasticity exclusively to the pictorial action. In addition, the experience of the painting of Claude Dauphin leads to precious and multi-colored spaces where art does not really justify itself but only by the encounter of others and by the emotion of the gaze.