{"id":9300,"date":"2024-09-06T11:01:42","date_gmt":"2024-09-06T09:01:42","guid":{"rendered":"https:\/\/www.studio-gilles-barbier.fr\/project\/inhabiting-the-painting\/"},"modified":"2024-11-15T18:20:16","modified_gmt":"2024-11-15T17:20:16","slug":"inhabiting-the-painting","status":"publish","type":"project","link":"https:\/\/www.studio-gilles-barbier.fr\/en\/project\/inhabiting-the-painting\/","title":{"rendered":"Inhabiting Painting."},"content":{"rendered":"

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Links : Cabins<\/a>, Inhabiting<\/a>, Locataire Mobilier (Furniture tenant)<\/a>.<\/p>\n

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Inhabiting Painting.<\/h1>\n

(…) I started this series in 1992, just out of art school. I think I did it to get into things and make room for myself. It wasn’t aggressive (…); I spared the images and pierced them carefully, trying not to disturb too much. With hindsight, I understand this gesture better. What you call a graft is in fact an attempt at incarnation. To penetrate things, to curl up in them and look at the world from within. To have initiated this gesture with painting, and in particular with still life painting, is quite symptomatic. Even today, from time to time, I return to live there. (…). <\/p>\n

Extract from the interview “Le Jeu de la Vie”, with Ga\u00ebl Charbau (Echo System, 2015)<\/em><\/p>\n

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Links : Cabins, Inhabiting, Locataire Mobilier (Furniture tenant).Inhabiting Painting. (…) I started this series in 1992, just out of art school. I think I did it to get into things and make room for myself. It wasn’t aggressive (…); I spared the images and pierced them carefully, trying not to disturb too much. 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