(…) I’ve just been offered a monograph of a recently deceased artist, whose work has obsessed me for a year or two. Paintings of figured waves, dot pattern rendered images ; everything dim, but precise, totally hypnotic. Honestly I don’t know what this work is all about, I can’t see a front or a back door and I love that, it’s so precious.
(…) I have the feeling that we don’t trust any human production (artifacts, behaviors, thoughts) if we can’t reverse-ingeneer it, find the code, the discourse it leans upon ; I guess living in a technological civilization doesn’t help. Or it’s rather the feeling that discourse tend to occupy everything, as if our shapes, our colors, our sounds alone were suspect. Indeed, our shapes, colors, sounds, whatever are suspect, and that’s what they are very good at ; language is ambiguous, we can learn from that. There is a parallel between all that and my approach as an artist (…)Working on my bas-reliefs I give much room to intuitions, memories, child-like fads, glimpses ; also I develop a visual language that’s colorful, clear, defined, iconic, accessible, and I play with this language. I trust it, I distrust it, I pretend both and leave no brush mark. I try to carry this language further and further, and to put a stop right before it may generates discourse (…)

Born in 1982, Louis Gary studied at the Ecole Régionale des Beaux-Arts in Nantes, at the Ecole Nationale Supérieure de la Photographie in Arles and at the Ecole Supérieure des Beaux-Arts in Marseille. He currently lives and works in Ivry-sur-Seine. He recently was subject to some solo exhibitions at the Confort Moderne, Poitiers (FR), at the High Gallery, Poznan (PL), at the Villa Belleville and at the Maison Rouge – Fondation Antoine de Galbert, Paris (FR).