Nicolas Delprat focuses on painting, attempting to add a new chapter to the medium’s rich history. With the help of a specific tool, the paint gun, he deposits pigmented acrylic clouds onto polyester canvases coated with black primer. He also uses a few rare brushstrokes or stamps, combing the mechanical and the manual in a minimalist continuity. While Delprat’s practice is voluntarily abstract, the artist still knows how to make figurative motifs erupt from his work: an umbrella, a chair, a road. A dynamic is quickly initiated between the surfaces of the canvases so patiently “mounted” in color and the painted elements, establishing counterpoints: a more easily identifiable motif or an ostensibly vehement brushstroke. With this centripetal movement, the painting instantaneously sets off a centrifugal action and irradiates in space. Strangely, it seems to expand and pounce towards us. Similar to a stereoscopic image, the painting is simultaneously situated in different points in space. The artist confronts painting with the volume image, and the omnipresent image. Painting has always been and still remains an absolute medium, steadfast in its ability to constantly renew itself. It has not ceased to reflect the world, just as it has not ceased to reflect each newly invented representation medium: photography, film, video, and more recently the digital and 3D image. Nicolas Delprat brings painting into the new world we are finding ourselves immersed into. He arms it and he primes it. This happens inside the painting and by the painting. It is almost as if the artist is attempting to endow the medium with artificial intelligence.
Yoann Van Parys
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