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Hervé Bailly-BasinL'aiguille verte

Confirmed artist
One of a kind work | Ready to Hang
92 W x 56 H cm
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Mixed media
One of a kind work
92 W x 56 H cm
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"The works presented here are situated at the meeting point of photography, painting (including the drawing stage) and computer graphics. Starting from shots taken in studio or on location, my work consists in bringing together these objective images with the subjective feeling of painting, my first profession.

This approach has led me to digitally model my way of drawing and painting. It is now possible for me to display on screen the premonitory images of multitudes of works made "in my own way", perceptible in their slightest details even before their material realization.

This realization is carried out on the basis of a single print, on Arches paper if the calculation of the image was stopped at the stage of the drawing, on panel or on canvas if it is a question of creating a painting in the full sense of the term. In this case the printing gives rise to a manual pursuit, over-tracking with acrylic medium bringing to the work thus finalized the "touch" of a real painting. Hervé Bailly-Basin

Hervé Bailly-Basin
Confirmed artist
  • 12 works sold
  • 37 works

Born in 1958, Hervé Bailly-Basin studied visual arts and philosophy. Initially focused on painting, his artistic practice was transposed in the late 80s into the then emerging techniques of digital imaging. This virtualization of the pictorial practice became for him a means to "dream" painting, and to explore more freely its aesthetic and poetic potentialities. The possibility of linking in visual sequences the successive states of the image-painting soon led him to the production of animated paintings, whose sound ("when immobility breaks, silence tears...") led to numerous collaborations with the world of contemporary music, and more particularly with the composer Tristan Murail.

The Grand Prix Audiovisuel de l'Académie Charles-Cros, awarded to Hervé Bailly-Basin in 2002, consecrated this evolution towards transdisciplinary works, of which the image-by-image reading does not cease to reveal a multitude of paintings, of which it would have been possible to paint only a tiny part if he had stuck to his primordial practice. Aware of the fact that the use of digital techniques has led him to implicitly "model" his way of painting, he has undertaken in recent years to formalize the processing chains translating the "secret algorithm" whose existence he had presumed in an article written for the magazine Nov'Art - the generating equation of the paintings that he has heart, now, to realize.

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