In a multi-faceted praxis, Guillaume Pinard finds the possibility of creating variations of scale and time-frame. Some works call for slowness: the remake of classical pictures in monumental wall drawings; others call for a glorified, compulsive impulse, a work in hand: paintings with a pocket format. The whole endeavour organizes a journey through painting and images in a procession of associations, links and signs. Guillaume Pinard thus explores all the media of display with relish. It is based on his interest in encyclopaedias, comic strips, cartoons, letters and painting that, from one installation to the next, the artist sets in motion the snippets of a narrative, and the workings of an exploded world. […]
In a multi-faceted praxis, Guillaume Pinard finds the possibility of creating variations of scale and time-frame. Some works call for slowness: the remake of classical pictures in monumental wall drawings; others call for a glorified, compulsive impulse, a work in hand: paintings with a pocket format. The whole endeavour organizes a journey through painting and images in a procession of associations, links and signs.
Guillaume Pinard thus explores all the media of display with relish. It is based on his interest in encyclopaedias, comic strips, cartoons, letters and painting that, from one installation to the next, the artist sets in motion the snippets of a narrative, and the workings of an exploded world.
The artist is forever going back and forth between his studio (the place where the work and its basic gesture gestates: the drawing) and his office (where he works out avenues of research and risky forward-looking projects using the Internet, archives, and books). The exhibition room is the meeting point of unlikely encounters, where Guillaume Pinard invites us each and every time to embark on a weird journey to the land of mediation, heritage, and culture industry.
