Jean-Luc and Takako Richard are delighted to announce that they represent Nicolas GUIET.<\/p>\n
\u201cMy work is an extension of the history of painting, and its approach, by enumerating its principles, relies on gestures traditionally attributed to the painting. Often a canvas stretched over a wooden frame, then painted. Sometimes, wooden panels are assembled and painted. A \u201clight practice\u201d of surface and color.<\/em> Jean-Luc and Takako Richard are delighted to announce that they represent Nicolas GUIET. \u201cMy work is an extension of the history of painting, and its approach, by enumerating its principles, relies on gestures traditionally attributed to the painting. Often a canvas stretched over a wooden frame, then painted. Sometimes, wooden panels are assembled and painted. […]<\/p>\n","protected":false},"author":3,"featured_media":12078,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[17,1941],"tags":[],"class_list":["post-12049","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news-en","category-nicolas-guiet-en"],"acf":[],"yoast_head":"\n
\nColor poses a real pictorial question of physical and sensitive space, but is itself an object. Most of the time, it comes from there, borrowed here and there from our most common, everyday chromatic environment. Extracted then reinjected, thus transformed by other connections and situations, its origin is then rather difficult to identify, and here again interpretation continues the presentation.\u201d<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"