Artist Aymard le Forestier de Quillien confides in Art-Trope and comes back on his artistic intentions:
The Artist’s History
I was born in 1952 in a family of 6 children with a history. As a teenager I often wondered what my purpose in life was. I wasn’t too bad with my hands and I’ve always liked to observe in silence. Originally, I wanted to work as a craftsman. Therefore, I went to Bordeaux to become the apprentice of a master glassmaker who also worked on mosaic and from then on I met with a couple of artists who eventually inspired me. As a result, I enrolled the Fine Arts School of Bordeaux for a 5 years program. After graduation, the idea of becoming a painter came to me as self-evident. I felt like I was meant to tell stories with shapes and colors. Nevertheless, I didn’t think I could sell my work nor live from painting. As opposed to great masters like Matisse, Picasso or Rubens, I considered myself as a mere apprentice. What fascinate me are colors and shapes. I share an aesthetic experience like a symphony. I am an observer of life and would like to go beyond humanity to reach spirituality.
His artistic expressions
The techniques I have been continuously learning become my artistic vocabulary to express myself. In that context, it was important to me to master ancient techniques while updating it. I find inspiration in the colors that surround me such as icons for example which interplay between white and blue elements are essential to me. By observing nature, one can unfold the mystery of absolute color. Nature teaches me how to be humble. The diversity of techniques and materials resonates with a wide range of words and sounds while allowing flexibility in spontaneity. I often remember the words of Ernest Hemingway: “Today is the first day of the rest of my life.”In fact, whenever I paint, I live in the moment without necessarily following a theme. Seeking Beauty and amplify it is my way of countering ugliness.
The evolvement of his work
When I was younger, my artworks were often filled with pathos yet never self-centered. Indeed, there was a sort of gestural aspect to my work. I soon realized that painting needed vibrations. Whenever I work on colors, everything cools off, is at ease, as opposed to the work on matter that echoes with agitation. I’d rather focus on the lively silence of the matter. Within that silence, it is essential to me that we all evaluate the distance that exists between each other and to that end I decided to work with a wide range of techniques such as gilding. Back in the 80s, I became the apprentice of the Louvre’s frame conservator who taught me his delicate techniques. In my gilding series which lasted over 4 years, the light reverberated differently depending on the environment which puzzled the photographer unable to capture the essence of the pieces since the light would change constantly. The unchanging aspect of the material was of great interest to me, especially because it boils down to the idea of transmission. Right now, I work more with oil, including glazing.
Getting the canvases out of the atelier requires a savoir-faire in terms of communication, networking and logistics. Art-Trope is an essential part of the mechanism by opening doors which I couldn’t unlock on my own. Therefore, my agent and Art-Trope all together form a team that allows me to build my career on the long run while focusing on creation and self-meditation. For instance, by interviewing me Art-Trope gives me the opportunity to put my thoughts in order and refine my artistic intentions. Art-Trope never lacks of ideas to keep going forward. It’s a door open to a future we do not know yet but that can be extraordinary!
See Aymard le Forestier de Quillien’s Art-Trope profile here.
Find our article on Julio Le parc on show at Perrotin Gallery here.
For more information on Art-Trope, check out our video presentation here.