Aurélien Dupuis takes his inspiration from familiar and over-abundant motifs, such as school and workplace portraits (the series ‘48 portraits’, ‘Employé(e)/Medewerker’), real-estate developers’catalogues (‘Pavillons’), amateur photographs found on flea markets (‘X’) and social platforms (‘Enfant + chien’, ‘Madonne’, ‘Dormeurs’). He re-creates these widespread images – hackneyed captures of modern life – using ‘slow media’ such as charcoal and children’s markers, preserving the low definition, pixelisation and overexposure of hasted snapshots.
It is precisely the choice of technique that makes his work compelling despite the uneventful topics, by introducing complexity and pathos. At a first glance, the colourful children’s markers connote a feeling of babyhood nostalgia, but paradoxically, there is also something absurd of a trained painter playing with toys when he could make art, using proper materials. Also his choice of subject is ambiguous. On the one hand, these are pictures of people and situations of no particular charm or consequence. On the other, the painter must think that they are worthy of consideration as he spends so much time and effort re-creating them.
Further uncertainty is brought by the fact that Aurélien works in series and with repetitions, which both simulate and challenge the mechanic use of images in media and on the Internet.
The quality of Aurélien’s work lies precisely in its openness for contradictory interpretations, inviting the viewer to have a longer look and triggering his memory.
Artist Bio / CV
Born in 1982 (Toulouse, France)
Fine Art degree, Painting, the Fine Art Academy (Beaux Arts) of Toulouse (2006)
Workshop and exhibition in Chongquing - China (2007)
Represented Ponyhof Gallery at POPPOSITIONS off fair, Brussels, April 2012 / Group shows "Disparaître ICI" - tandem Aurélien Dupuis & Alain Josseau, Espace Croix-Baragon, Toulouse, February 2011 / "Progressive Recuperation of the clichés", group show, Ponyhof Gallery, Ra, Antwerp, May 2010 / Canvascollectie/Collection RTBF, Bozar, Brussels, 2010