Sol

Arthur Aillaud builds his exhibitions in a back and forth movement of focal length and points of view, as if the artist’s eye, like a lens, alternates wide angles and close-ups. Arthur Aillaud’s business is an excavation, an excavation of the landscape from the abandoned concrete foundations of building sites, with false airs of antique temples, up to squares of earth meticulously scraped by an archaeologist exhuming with patience, the fragment of an ageless object. Sometimes the floor itself becomes the subject of the painting, by translating the flat area of the floor onto the gallery wall. Leaving only a brush left on the ground or a ruler to give the scale of this image, which could otherwise just as well be a huge desert seen from
the sky. Unprecedented development of which Brussels will be the first scene: Arthur Aillaud exhibits at the Galerie La Forest Divonne a set of objects constructed from cardboard, wood, wire, and drenched in barbotine. Arranged in the gallery in front of the oils on canvas, they complement his pictural researches and feed its narrative like so many objects drawn from
the excavations represented in his paintings, unless they should themselves be the subjects of the canvases? Objects took out of the artist’s imagination, in a form of inner archeology.