Theophile DELAINE est né en 1969 en Champagne. Depuis sa plus tendre enfance, ses parents le baladent dans un minibus Volkswagen; en Grèce, en Afrique du Nord, en Afghanistan ou au Népal, ce qui le marquera d'un désir permanent d’évasion et de liberté.
À 19 ans, il se rend à Paris pour étudier la musique à l'université Paris VIII et au conservatoire. Il aimait déjà dessiner mais découvre alors le monde des arts visuels et de l'art contemporain de la capitale. Il a ensuite commencé à suivre le programme d’enseignement Arts Plastiques à l’université, visitant des musées d’Europe et d’ailleurs, des galeries, des expositions.
Il fera de multiples rencontres enrichissantes. Durant toutes ces années d'apprentissage, il reste néanmoins fidèle à sa contrebasse, suivant une formation classique et jouant dans des clubs de jazz.
Il finira par abandonner progressivement la musique pour les pinceaux. À 23 ans, il se lance complètement dans la peinture. Travaillant la technique, la composition, l'harmonie des couleurs, les dessins académiques et les nus, les paysages, la peinture figurative, il tente également d'explorer la peinture abstraite vers laquelle il tend même si le résultat ne le satisfait pas.
A 26 ans, il part vivre en Crète où il aime dessiner des portraits des montagnards dans les cafés des villages. Pendant tout ce temps, il cherche à exprimer graphiquement le besoin de liberté qui le caractérise. Bien qu'il apprécie l'expressivité de Paul Rebeyrolles et la grande sensibilité de Van Gogh, c'est la peinture de Zao Wou Ki qui lui sera finalement révélatrice.
Et à 28 ans l'aventure picturale commence réellement. A 30 ans, il s'installe en Limousin, monte un petit atelier et peint - beaucoup, sans arrêt! Il commence à vendre des peintures, entreprend de reprendre les études d'art plastique pour parfaire ses connaissances théoriques et organise sa première exposition personnelle. Mais il ne suffit pas de peindre pour se sentir libre, il faut le vivre pour le peindre.
Puis, en 2004, il repart et s'expatrie à Madagascar où, pendant plusieurs années, son propre style abstrait s’épanouira. Il expose très régulièrement dans divers endroits de la grande île, interrogeant sur les mystères de l'existence et de nos origines.
A 46 ans, il quitte Madagascar pour la Réunion où il expose ses réflexions picturales depuis début 2016. Marchant dans les montagnes, proche de la nature, et développant toujours son propre langage pictural entre abstraction et figuration, sa peinture et sa démarche artistique acquièrent une maturité évidente.
Entre-Deux, La Réunion
https://www.facebook.com/events/980796773018584/
Le tableau Ataraxie ou la désinvolture du temps est mis aux enchères du 8 au 21 avril sur le site Artprice.
Enchères
Pour le week-end du 4 décembre, j'ouvre les portes de mon atelier. Si vous désirez voir les tableaux grandeur nature ou me poser des questions, c'est le moment!
https://fb.me/e/1mELyNMgq
https://preview.mailerlite.com/j1l3n9/1648594874221465293/r1r0/
Bonjour! Afin d'avoir un autre point de vue des oeuvres, des videos ont été ajoutées sur les oeuvres suivantes:
Contemplation opus I
The blossom of hope and breaking
The indifference of the fireflies
Untie
À très bientôt!
Je vous propose une petite rétrospective sur cinq années de peinture à travers trois séries, "Le chant du monde", L'esprit de l'île" et "Voyage". Quarante six peintures, le tout réunis dans un musée virtuel personnalisé. Mettez vous en plein écran, utilisez les touches "flèches" et la souris, cliquez sur les toiles et bonne expo!
https://www.artsteps.com/view/5ecaa01dfbf64b58219b3f7a
Démarrée en 2016 la série L'esprit de l'île est une série dédiée aux mystères des paysages variées de l'île de la Réunion. Là où l'océan cotoie les montagnes escarpées et les cirques sauvages et son volcan, les balades ne sont pas seulement l'activité du corps mais nous envoutent l'esprit. L'opus I vient d'être un peu remanié puis photographié en meilleure résolution;
https://www.artmajeur.com/en/theophile-delaine/artworks/6479/the-spirit-of-the-island-opus-i
Almost four years ago, I took up the brushes after a long absence. The only one I have had ever in this metier. I left the sketches as they were. Some paintings, still ready to be made, had remained in my mind, out of time. Even the ideas drifted gently in this ether of patience.
I tried sometimes to get back to it, put a canvas on the easel, prepared the paintings, brushes, but nothing helped. I did not start. I could not bring myself to draw the first line.
Seven years of reflexion, meditation, observation and contemplation have been right in my last chains. So, when I came back, I painted this canvas that had been waiting for me.
From that moment on, I began to paint again, without constraint, without effort, with ease and amusement that disconcerted me, a real walk.
"Freedom guides us" oil on canvas, 100 x 70 cm, 50 x 40 cm, 50 x 40 cm, (2015)
The comment of its owner:
"I took some time to grasp (but did I grasp?) the complexity of a deliberately unfinished painting for the witness that we are - because symmetrically uncompleted - which can not be since it is deliberately unfinished it is first finished!
The paradox does not stop there, it is in the very freedom that faces us and which, while we are looking for its absent face, flees us suddenly to rush towards the horizon of the emphatic approach of weightlessness.
Does she face us? She is conquered; is she running away? She is playing!
The title of the painting is also not ingenuous: "Freedom guides us" is also a paradox - how, indeed, could a free being be guided (would it be by freedom itself!) without to be immediately insane? Can we then think of the problem of freedom and its antinomy (determinism and free will) with more than lightness, even derision? Can we finally get rid of this eternal question, simply by tending to a necessary joy, in the manner of Spinoza and as the painting suggests? But that's another question that comes up..."
"Nature is a temple where living pillarsLet escape sometimes confused words ... " Charles Baudelaire "Correspondences"
We are often asked what our artistic approach is. For the contests, registration on professional websites, galleries, etc. Here is mine, updated on 28/04/2019:
We only paint what we are, what we live, and even more so what we can see and what we feel.
What is a graphic work but an entanglement of shapes and colors? Colors whose codes and semantic fields are culturally established but have their own energy and their specific effect on all of us.
It is the same for the shapes of which one knows to recognize the softness, the violence, or the movement. Colors and shapes that impress their mark according to their complexity and their arrangement, express then the balance or the imbalance, the anguish, the pleasure or the joy, etc.
Following the lead of Wassily Kandinsky, Paul Klee and also Zao Wou-Ki and Gao Xingjian, I try to explore the intrinsic language of the world that we are given to perceive in his extraordinary variety.
Through all the shapes and colors existing in nature, i try to decipher the messages, the vibratory language, by using them as a pure mode of expression, beyond the symbolic, beyond what is recognizable as an object, beyond words, beyond what we can see.
I paint the world as i perceive it in its mystery.
Each of my paintings is a representation of the questions I ask myself, doubts and discoveries, a slice of the experience of my feelings, a graphic interrogation of our existence and our essence.These are snapshots of my soul.
They are therefore inseparable from my personal adventure.They line up in the manner of a photo album my spiritual and philosophical journey. They are so many pictures that allow me to become aware of what I live, of what we live deep within ourselves and can sometimes be discover a parcel of answer in their just realization.
Over time, subjects and meaning become clearer, become aware, I do not put my titles to chance even if they may seem fanciful to some.
To conclude, I would say that aesthetics can be studied in another way than on the basis of an opposition between objectivity and subjectivity. It is rather a kind of energetic interactivity between the object looked at and the one that looks, linked at first to the shape and the color, but also to the sounds and any other form of sensory perception.
This energy perceived passively by the gaze is transformed very quickly into another, according to the disposition and the nature of the one who looks. His feeling of beauty - if there is a feeling- will determine the watcher to become an actor, he will then project in turn an energy that will come back to him to infinity.
