Thomas
Auriol

thomas.auriol(at)gmx.fr
@thomas_auriol_

C’est autour de la question de la projection dans l’espace et sur la collision entre les degrés de perception que vient s’inscrire le travail de Thomas Auriol. À l’origine de l’élan primaire se trouve la matérialisation d’une image par des notes manuscrites ou graphiques dans un petit carnet. Portées au crayon de couleur, les différents éléments sont immédiatement soumis à des rencontres hasardeuses et intuitives. L’incorporation d’une première couche de peinture accentue le composant sensuel de l’assaut initial esquissé. L'utilisation récente de l'aérographe lui permet de dresser de nouvelles rencontres entre des entités plurielles. Les couches successives viennent définir l’ensemble du support où l’attention porte autant sur la trame que la lumière. Conscient de l’importance de chacun des états de composition, il appréhende le caractère transitoire de l’image par le montage de différents plans. Ces différentes phases de travail misent sur la plasticité de la peinture pour établir une mise en lumière d’un traitement de l’image qui rappelle la grammaire numérique. Ce rapprochement met à jour un territoire de filtres, de matières et de phénomènes où il n’est plus forcément question de représenter un objet, un paysage mais de l’envelopper et le parcourir. Thomas Auriol joue sur l’impasse productive du regard, en nous proposant une réorganisation visuelle qui montre sa position autour de la construction de la peinture et de la culture visuelle d’aujourd’hui.
Alberto Arenillas

Thomas Auriol’s artwork deals with the question of space projection and it also tackles the conflict that exists between different perception degrees. His painting emphasizes people’s habit to contemplate the appropriation of reality through genuine, projected or filtered spaces transposition. Affected by the use of videos, minimalism and German abstract painting, his production deals with the image in depth and slices it through on surface.
At the root of that primary impetus lies the picture’s realisation through hand-written notes or sketches in a small notebook. In colouring pens, the different elements are immediately subjected to random and intuitive encounters. The incorporation of an initial paint layer emphasizes the sensual constituent of the assault initially outlined. The successive layers enable to characterise the whole medium by focusing not only on the thread but also on the light. Aware of the importance of each composition’s state, Thomas Auriol grasps the transitory nature of the picture by using a multiple plan assembly.
The zenithal sight and the gravitational use of some envelopes, as if they were characters – potentially inherited from his early figurative artwork, tend to get back on top of his composite works. Auriol makes every effort to highlight the physical presence of elements. These eventually serve a series determining a floating, unsteady sequence. His works are the theatre of frictions between shiny shapes and troubled entities. These border lines require a range of intentional specific transitions where faded elements repel, accentuate or mix with cut out profiles. Within this context, using the airbrush is relevant since it allows to draw new encounters up between those plural entities.
As curious as interesting, the arrival of that pneumatic tool leads his work into an organic dynamic. It seems like bringing in a new paint-spraying procedure, by letting the air come through and adding a paint coating on to it, had granted enough time and skills for Thomas Auriol to filter the picture through the paint.
Thus, these different work phases bank on paint malleability to highlight a picture processing which reminds of digital grammar. This comparison reveals an area of filters, materials and phenomena where the main issue is not necessarily about representing an object or a landscape, it is about enfolding and scanning it. Thomas Auriol makes use of the eyes’ productive impasse by suggesting a visual reorganisation. This enables to place it around the paint’s construction and today’s visual culture.

ALBERTO ARENILLAS