List of products by brand Tanguy Tolila

Born in France. Lives and works in Angers (France).

EDUCATION

1968-1971
Ecole Nationale Supérieure des Beaux-Arts de Paris, atelier Singier, France

1969-1974
Ecole Nationale Supérieure des Arts Décoratifs de Paris, France

PUBLIC COLLECTION

Woolmark Foundation

Colas Foundation

Bouvet-Ladubay Foundation

City of Angers

Museum of Fine Arts of Angers

Crédit Mutuel

Artothèque Musée des beaux-arts de Brest

Art library of Angers

Louis Vuitton Collection (LVMH)

SELECTED EXHIBITIONS

2024
« A quatre mains », avec Nadine Altmayer. Amélie Maison d’Art, Paris

2023
"Aux contours effacés », avec Delphine de Luppé, Amélie Maison d’Art, Paris

The Invisible Collection gallery avec Amelie, Maison d'art, New York

« Bleu, Blue, Blau », galerie du Domaine perdu, Meyrals

2021
« L’artiste, cet autre collectionneur » Galerie du domaine perdu, Meyrals

2015
Livres ouverts, Galerie Roy Sfeir, Paris, France

"Territoires", Galerie Lionelle Courbet, Paris, France

2014
« Livres ouverts », galerie Roy Sfeir, Paris, France

« Oiseaux » galerie Lionelle Courbet, Paris, France

2013
Galerie Roy Sfeir, Paris

Galerie des Iles lointaines, Angers, France

Chapelle « Les Ursulines » , Ancenis, France

2012
Hommage, Chapelle Ste Anne, Pornichet, France

Galerie AVV, St Mathurin sur Loire, France

Galerie Roy Sfeir, Paris, France

2011
Mac Paris, Paris, France

Galerie Roy Sfeir, 6 rue de Seine, Paris, France

Abbaye de st Florent-le-Vieil, France

2010
Mac Paris, Paris

7th Ansan international art fair, Seoul, South Korea

2009
Partitions, Château de Carrouges, France

2007
Galerie Gaultier, Quimper, France

2005
Travaux récents, partitions, cartes et calques, Musée des Beaux-arts d’Angers, France

« Black & white », galerie du Domaine perdu, Meyrals

2003
Exposition Francis Limerat - Tanguy Tolila

Centre d’art contemporain Bouvet-Ladubay, France

1999
Grand théâtre d’Angers, France

Week-art, le Mans, France

Euro Celtic art, Lorient, France

Mémoires de mer, galerie le Faoudic, Lorient, France

Tanguy Tolila has devoted himself to painting for thirty years. During these last years, while continuing to work on canvas, he paints or draws on paper that he recovers, old music scores with notations that run on staves, whites, quarter notes, rounds, eighth notes, sixteenth notes, sighs, half-sighs, geography, or staff maps folded with meticulousness and often pasted on canvas, old dressmakers' patterns with their elegant ornamental motifs.

            Tanguy Tolila relies on their textures, their folds, their details, all different, to paint shapes and draw lines; to make them play with each other.

            More or less tight, more or less marked, the folds of the paper serve as a support and organize his intervention. He delimits soberly colored surfaces with the help of a juice or, more exactly, of juices because one distinguishes that he operates by successive passages, by addition, by superimposition of pictorial layers, some reinforce, others attenuate, extinguish the ardor of a tonality. These juices play on clear camaieu with subtle colorations, extinguished, earthy, opalescent, muddy nuances... More rarely their author has recourse to a strong tonality, and, in this case, with audacity, a red illuminates. Its filling alternates cautiousness and risk-taking, success or repentance. And when he is not satisfied, then he maroons a new piece of paper which hides all or part of the previous one, complicates the support on which he intervenes and offers him a new adventure ground.

            Following or concomitantly with this setting of the bottom, it can draw a feature, generating feature, minimal trace of the pictorial practice, mark of the appropriation of space. It is about a linear form, simple first form, ancestral, emblematic of all those which seek to mean. It could be an attempt to sketch the idea of a landscape, a body, a face. But above all, it is a question of marrying or occupying the surface of the sheet of paper, of dialoguing with the accidents which traverse it. This black line, very black, is first, essential, and one feels that before arriving at the surface, it is first a mental space, a means for the one who draws it to apprehend this material which, although flat, is complicated in its texture, in its history, in its space, in its inextricable interlacing.

            The result is first global. A colored ambivalence. Then it is subtle. Subtlety of the gestures nourished of a tenderness and a respect for the venerability as much as the vulnerability of its support. Distinction in the combination of repentances and additions, one perceives the time of the practice of the painter, his hesitations as much as his audacities or his shyness to make appear a form on the paper, to go a little further to see if his audacity will be right of his reserve. Sometimes it results in satisfaction, other times it is necessary to go back, to attenuate, subtract, erase, forget. The time of the practice can be read in it, with the repetition of the same precise, assured gestures, and the meditation that lets the others appear, close and different.

Patrick Le Nouëne