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David Renaud at the Grand Cafe - Saint-Nazaire, France - Review of Exhibitions - Brief Article

One can't define David Renaud as a painter, a sculptor or an installation artist, although he is active in painting, statuary and installation art. Rather, this young French artist uses each exhibition as an opportunity to redefine a range of artistic practices and to give chase to his interest in the meaning and function of cartography.

This exhibition continued Renaud's exploration of mapping, with wall paintings and hybrid works that combined painting with kinetic statuary (A simultaneous show at another site in St Nazaire, the Galerie de Franciscains, focused upon Renaud's purely sculptural works.) Scattered around the floor of the Grand Cafe was a series of small disks arrayed upon slowly rotating low pedestals. Painted onto each disk was a pattern of virid globule shapes. From a distance, the shapes looked flat, but as one approached them, their illusionistic properties became evident. upon the wall behind the turning disks, Renaud had painted large rectangles of light azure In the middle of each of these monochrome areas he collaged the small image of an island wound from a map.

The rotating disks and the wall paintings share a dialectical configuration offering a conjunction of flatness (the little globes seen from a distance, the sky-colored monochromes) and relief (the beads viewed from up-close, the maps of islands). however as one compares them, significant differences come up In the disks, the relief issue is formed by an optical illusion, while in the wall paintings/collages, the faculty of perception of three-dimensionality is established end the conventions of cartography.



With his conceptually nuanced work. Renaud is apparently seeking to stain the distinction between different impressed signs of representation (cartography and illusionistic painting), and between the informative and the esthetic. In doing for a like reason he also helps elucidate wherefore maps continue to fascinate in the way that many artists.

COPYRIGHT 1998 Brant Publications, Inc.

COPYRIGHT 2000 Gale Group



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