GUY - Serpent (2024) Drawing by Rémi Balligand

Acrylic on Paper, 27.6x19.7 in
$754.15
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GUY- Le Serpent Cette œuvre appartient au 5e Percept* intitulé Guyanes. Chaque Percept possède sa matrice qui représente son "Manifeste" en quelque sorte. Le Percept Guyanes met en jeu les nuances vives de vert, la dorure, le graphisme des feuillages, le vernis ultra brillant. Il recèle le mystère d'êtres cachés dans[...]
GUY- Le Serpent
Cette œuvre appartient au 5e Percept* intitulé Guyanes.
Chaque Percept possède sa matrice qui représente son "Manifeste" en quelque sorte.
Le Percept Guyanes met en jeu les nuances vives de vert, la dorure, le graphisme des feuillages, le vernis ultra brillant. Il recèle le mystère d'êtres cachés dans la végétation.
Le serpent a été réalisé à l'encre, au marqueur acrylique et à la peinture dorée.

Rappel de la démarche //////
*Le monde m’apparaît comme un gigantesque émetteur de signaux que nous décodons grâce à nos sens et qui nous permet de nous représenter notre réalité. Nous ne percevons qu’une infime partie des forces à l’œuvre dans cet univers immense. Nous le savons grâce à des appareils qui nous permettent d’avoir accès à ces autres niveaux de réalité que sont l’énergie, la gravité, les bactéries, le magnétisme, les ultra-sons ou les phéromones. Mais nous n’avons que nos sens pour les appréhender directement et le langage pour les conceptualiser.
J’aime penser que malgré nos limites, nos sens et notre esprit nous offrent une infinité d’expériences possibles et que parmi cet infini, il existe des clefs quelque part pour nous rendre accessible la beauté du monde. à travers ma recherche, en agençant les formes, les lignes et les couleurs dans des ordres nouveaux, en explorant par le dessin la structure de sujets, en les confrontant à des formes qui produisent du sens, j’essaie de rendre perceptibles des univers possibles.
C’est dans cet état d’esprit que je revisite la notion de Percept, terme emprunté à Gilles Deleuze, philosophe français et théoricien de l’Art, et ce de façon très simple : comme des recettes de cuisine, des formules chimiques ou des algorithmes visuels.
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Rémi Balligand is a contemporary French artist whose work explores the intricate relationship between human perception and the vast universe. He views the world as[...]

Rémi Balligand is a contemporary French artist whose work explores the intricate relationship between human perception and the vast universe. He views the world as a gigantic transmitter of signals, which we decode through our senses, allowing us to represent our reality. Despite perceiving only a small fraction of the forces at work in the universe—such as energy, gravity, bacteria, magnetism, ultrasound, or pheromones—Balligand believes that our senses and language offer an infinity of possible experiences. Through his art, he seeks to uncover the keys that make the beauty of the world accessible.

Balligand's artistic process involves arranging shapes, lines, and colors in new orders, exploring the structure of subjects through drawing, and confronting them with forms that produce meaning. His goal is to make possible universes perceptible. He revisits the notion of "Percept," a term borrowed from French philosopher and art theorist Gilles Deleuze, in a straightforward manner, akin to cooking recipes, chemical formulas, or visual algorithms. Each Percept is a visual theme presented in different media and forms, each containing its own formal logic and evocations.

Born in 1977 in Longjumeau, Balligand currently lives and works in Paris, with a workshop in Normandy. He holds a National Diploma in Plastic Arts from the École Nationale Supérieure des Beaux-Arts of Le Mans and a Master’s degree in Art and Communication from Valenciennes. Additionally, he has undergone regular training in graphic design and communication at Pyramyd.

Through his research and artistic endeavors, Rémi Balligand strives to make the complex and often hidden aspects of reality perceptible, offering viewers a glimpse into the infinite possibilities of human experience.

The Artist was highlighted in an article in Artmajeur Magazine:

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