Romain Blanck

MAY - JULY 2022
WE COLLECT RESIDENCY

YOU CAN RECOGNISE IN THE PAINTING OF ROMAIN BLANCK (DÜSSELDORF, 1995) SOMETHING VERY FAMILIAR, BUT ALSO SOMETHING THAT FAILS, AS WITH THE EXPRESSION 'FALSE-FRIEND' THAT WARNS THAT YOU MIGHT MISTRANSLATE A WORD BECAUSE OF ITS FORMAL SIMILARITY TO OUR OWN LANGUAGE. THERE IS AN UNCERTAIN PERCEPTION OF WHAT IS HAPPENING IN HIS WORK, A VISUAL SUPERIMPOSITION OF PICTORIAL ELEMENTS REMINISCENT OF A FREEHAND SCRIBBLE IN A NOTEBOOK, A ZIG-ZAG LINE TO TEST A PEN, OR A DRAWING ON A MOBILE OR TABLET SCREEN.

ROMAIN BLANCK REUSES FOR HIS PAINTINGS SCRIBBLES, EPHEMERAL AND UNNOTICED LINES, FORMS AND AUTOMATIC DRAWINGS THAT WE ALL MAKE AND DISCARD, OFTEN WITH A CERTAIN URGENCY, AND WHICH HE CONSIDERS USABLE. THE PAINTINGS ARE AT THE CENTRE OF A NEGOTIATION BETWEEN THE PROTOCOL DRAWING OF THE REPRODUCTION AND THE CHANGES THAT OCCUR DURING THE PROCESS, GIVING RISE TO NUMEROUS MARKS ON THE SURFACE, IN TENSION WITH THE COLD FLATNESS THAT APPEARS AT FIRST GLANCE. THEY ARE PAINTINGS THAT RESPOND TO ENCOUNTERED SITUATIONS, TO SPECIFIC OBSERVED LINES THAT THE AUTHOR APPROPRIATES BUT, AT THE SAME TIME, THEY ALSO RESPOND TO THE MECHANICAL GESTURES THAT WE ALL MAKE, THAT THE ARTIST HIMSELF MAKES ON A DAILY BASIS. HIS WORK EXPLORES THE IDEA OF TRANSLATING FOUND ELEMENTS THAT HE CONSIDERS SUITABLE, SUCH AS ROYALTY-FREE MUSIC. EACH INTERVENTION ON THE CANVAS EXISTS AUTONOMOUSLY, THUS GIVING RISE TO A SUCCESSION OF PICTORIAL ACTS. THIS PROGRESSION DOES NOT REALLY TEND TOWARDS AN END, BUT EACH PAINTING COULD CONTINUE INDEFINITELY. THE WORKS ARE PRESENTED MORE 'STOPPED' IN TIME THAN 'FINISHED', WHICH DOES NOT MEAN THAT THEY ARE REWORKED, BUT RATHER THAT THEY MARK A MOMENT OF PAUSE IN THE SUCCESSION OF PICTORIAL ACTS.