Welcome backstage for one of our upcoming monumental works. Citizen art…
Before its exhibition, we send you some pictures of our work. We also take the opportunity to explain our choice of citizen art.
Art is a language that is constitutive of human creation. It has always accompanied women and men and meets our fundamental needs to understand what surrounds us, to create meaning and social ties, to invent other possible worlds, to test our sensitivity.
However, a large part of the population today has a very limited, if any, relationship with art and artistic practices. Art is often reduced to the status of an ordinary consumer product or, on the contrary, can seem very distant from our daily lives. In the face of inequality, environmental emergencies and the testing of our democracies, art is a formidable engine of citizenship and emotions that can amaze us individually and collectively, bring us together in joy, but also inspire us to act.
So yes, a town hall, a town hall… are all places that deserve a contemporary artistic work. A national work that will decorate the reception hall to be visible to hundreds of users. A town hall museum of contemporary art? Certainly.
Using canvases of all sizes, artist Franck Blériot is able to paint incredibly meticulous works of art. From paintings that can fit in the palm of your hand to those that are monumental. Blériot has addressed everything. But whatever the size of the work, his work is always impeccably detailed to the point of being reminiscent of a rain of controlled paint.
With acrylic paints and a detail brush or pipette in hand, the painter creates short, precise brushstrokes that are barely visible. His technique is particularly effective in very large abstract paintings. When it comes to depicting the human figure, the artist perfectly creates visual harmony in the way he captures the minute glimpses or larger-than-life interactions of light and shadow.
To add to his set of figurative paintings, Franck Blériot also uses his skillful hand to recreate delicate monochrome effects.
Through the action of the current National Centre for Plastic Arts and the institutions that preceded it – including, in the first place, the Bureau des travaux d’art – the State has pursued a policy of decorating places of power that is largely based on a dual system of deposits of works – purchased directly from artists or on the art market – and in situ public commissions. From the Liberation to the present day, what does the state show of itself through this decorative activity? Underthe Fourth Republic , the works intended for these spaces saw the iconographic coexistence of an imaginary of national unity, inherited from the Resistance, and forms of regionalist exaltation that triumphed in large painted panels decorating town halls or prefectures. While the beginnings of the Fifth Republic saw a clear decline in the policy of commissions intended for administrative spaces, this practice reappeared, in new forms, from the creation of the Public Procurement Fund in 1983. Although certain sovereign or localist themes survived, the iconographic particularities of the ensembles intended to adorn administrations and places of power tended to disappear overall, in favour of a policy of support for contemporary creation independent of its purpose.