Oil painting on paper print 210g
H.73,5 x W.54,5 cm
H.89,5 x W.76 cm (with frame)
1982 Birth in Toulouse.
1995 Guillaume Bresson begins painting by the practice of graffiti. He makes his weapons on the walls of Rangueil, in the suburbs of Toulouse.
2001-2007 As a student at the Beaux-Arts de Paris, he developed a series of paintings with deceptive naturalistic appearances, depicting urban violence. He is received with the congratulations of the jury.
2007 First exhibition at the Lacen Gallery in Paris.
2010 The year is marked by her entrance at the Nathalie Obadia gallery and by her participation in the exhibition Dynasty at the Palais de Tokyo and the Musée d'art moderne de la ville de Paris.
2015 Guillaume Bresson is exhibited at the Eglise des Célestins as part of the Avignon Festival.
Sans titre (Untitled)
By Guillaume Bresson (1982, France)
Guillaume Bresson is exhibited at the Church of the Celestins during the Avignon Festival". The imposing architecture of the city, the checkerboard on the ground, the linear perspective, but also the light, give an artificiality to the photography of this front page. This theatricality, which is echoed in the title "Comment reconstruire", is the basis of my work. My paintings are recompositions, pieces of real re-arranged. Between 2005 and 2010, I made a series of paintings representing confrontations between suburban youths, in architectural settings often claustrophobic. I felt a visceral need to show this violence. I invited friends of adolescence to stage themselves, sometimes proposing them a movement, a posture, and I made many shots of these agreed gatherings. These reconstructed fights do not pose a diagnosis, but they show a symptom. This one, with its empty square surrounded by three bars of buildings, seemed to me to be an optimistic starting point, and a virgin scene that I chose to populate with characters from this previous work. This provokes an interesting shift: while my painting is purely fictitious, it is here set in a very precise historical context, with a date and a title. This risk-taking interests me because I consider necessary the confrontation with social reality, the opening to other fields. But if I work in connection with current events, I don't want to limit myself to illustrating them. I reconstruct it starting from the individual body: it is a way of thinking about it. I place characters in general scenes to observe the relationship that occurs there : how can a place determine an action? »