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Five Hundred Years Ago

  • Start

    23 March 2019
  • End

    22 April 2019
  • Artist

    Pierre Roy-Camille
  • Gallery

    1159 Chino Roces Ave. , Brgy. San Antonio, Makati City, Philippines 1203

Pierre Roy-camille was born in 1979 in Martinique (F.W.I) and later moved to Paris to complete his studies at the Ecole des Beaux-Arts. He since has shown his work regularly in France, including solo shows “Earth, Wind and Fire“ at the Since Gallery in 2012. In 2014, Roy-camille’s solo show Surnaturels at the Foundation Clement in his native Martinique, featured a monumental series which highlighted the boundaries between reality and fantasy, science and experimentation. If he likes to work in the street to give birth to the extraordinary of a corner of concrete walls, he is also the author of six murals of the restaurant of the Palais Royal in Paris, transformed under the direction of Christophe Tollemer in 2015. He then presented at the Jules Maeght Gallery in San Francisco the exhibition “Painting is the pattern”. In 2016, his work is proposed by the Maeght gallery located Rue du Bac in Paris under the title “Le Souvenir avec le Crépuscule”. The work of Pierre Roy-camille responds to the Hip-Hop, Rap and graffiti of his generation, using improvisation, sampling and collage. Roy-Camille is influenced by nineteenth century illustrator- printmakers such as Gustave Doré and aligns himself with contemporary artists such as Christopher Wool and Ed Ruscha. Roy-camille’s main subject matter is the natural world which he interprets onto multiple surfaces such as walls, wood and canvas in order to evoke his own experience. Pierre Roy-camille defines himself as a “producer of images,” concerning himself more with the final image itself than the specific process, medium or technique.

Says Roy-camille, “My work engages “live” with the viewer, like in theatre. This type of interaction is much stronger than just painting on a canvas. I have a hard time defining myself as a painter. I am more like a performer, a creator of images, a magician, an “illusionist.” For Painting is the Pattern, Roy-camille will be creating site-specific work that will include painting on the gallery storefront window.

Pierre Roy-Camille develops a prolific and protean work that combines drawing, painting, engraving, screen printing, digital art, video, and mural painting both in the street and as part of orders for interiors.
He seems to want to explore all possibilities and attaches great importance to the mastery of different techniques of image making: all tools available to face the richness of the imagination and to extract personal, inventive, harmonious visual propositions and often troubling.
His works are marked by special effects, illusion. Thus, if there is often confusion between the background and the form, what is in front of or behind, there is also confusion between the techniques: the painting imitates the engraving, the engraving pursues what was initiated in painting, we do not know what is glued, what is curved, what comes perhaps from a photograph, if what we see comes from the action of a machine or the hand. It seems that Pierre Roy-Camille is trying to lose the viewer, first of all to stretch out what he thinks he knows, then to disturb him and push him to delve into his memories, his inner world, to try to make his way, to unravel the truth of the false, find its truth.

The personal history of the artist, shared between Paris and Martinique, has given rise in his work to a tropical, semi-naturalist universe, half fantastic, where nature is the driving force. A powerful imagery, whole, radical, where infiltrates as delicacy and poetry, as to narrate in filigree the nostalgia of the childhood, the lost paradises. It is true that one feels memories beating beneath the surface of works. Memories that Roy-Camille reinvents, recomposes, rediscovering what has marked the sensibility, making it spring, isolating visions and sensations to save them from an abyssal forgetfulness. The idea of ​​escape inspired by his work is an escape in the form of a retreat, an intimate research as spontaneous as it is open-minded, the exploration of an imaginary that invites us to substitute our own for a free extension. fragments of stories that keep their modesty.