List of products by brand Alain Cauchie

Born in 1951 in Saint-Denis

EDUCATION

1983
Paris 1, agrégation in plastic arts.

1977
Art students league, New-York, workshop of Theodoros Stamos

1975-76
Amherst College (Massachusetts, USA), drawing, painting

1974
Paris 1, master's degree in philosophy on 

SELECTED EXHIBITIONS

2024
Artian Gallery, with Seon ja Kim, Gangnam, Seoul

2019
Galerie du Génie, Paris, with Seon ja Kim

2017
Galerie Le palais de Séoul, Seoul, with Seon ja Kim
Galerie Marine Busan, South Corea, with Seon ja Kim

2016
Salon MacParis, solo show
Galerie La confection idéale, Tourcoing, solo show
Galerie Production autre, Le Havre, group show

2015
Salon MacParis, personnelle

2011
Centre culturel coréen, Nouméa, collective
Galerie de l’Europe, Paris, personnelle

2010
Galerie Gong, Séoul, personnelle

2009
Salon de la peinture à l’eau, Paris, collective
MANIF international art fair, Séoul, personnelle
Galerie Caroline Serrero, Marseille, personnelle

2008
Galerie Marine, Busan, Corée du sud, avec Seon ja Kim

2007
Galerie Daewoo, Masan, Corée du sud, avec Seon ja Kim

2000
Galerie de l’Univers, Lille, collective

1997
Centre d’art La malterie, Lille, personnelle

2024
Pink art fair, Séoul

It starts with the question of format. For me, the geometry of the rectangle has long seemed more like a constraint than a productive limitation, which led to pictorial explorations that sometimes flirt with sculpture.

After several years working with polyester tracing paper, in 2015 I discovered the ideal support (so far): sheets of expanded polyvinyl chloride (PVC), which adhere well to acrylic paint, are lightweight, and have the advantage of being white, allowing for luminous colors. They can be cut with scissors or a craft knife, and can also be deformed to create reliefs using a source of heat.

Once the forms are painted (initially by dripping, then in various ways over time) and cut out, the assembly process begins, much like in sculpture. The forms are added, juxtaposed, or layered, eventually creating a cohesive whole. The dynamic syntax of colors and shapes is often central to the autonomy of each work, which thus does not rely on a horizontal or vertical support.

The pieces that make up these works can extend outward in relief from the wall, rest on the floor, be separated by empty spaces, or cluster together; yet the overall composition remains frontal and colorful. It is always, fundamentally, painting.