List of products by brand Frédéric Heurlier Cimolai
Born in 1963 in Germany. Lives and works in Montreuil, France.
SOLO SHOWS
2009
Galerie Brigitte Cappy- Hossegor, France
2011
Galerie Brigitte Cappy- Hossegor, France
2012
Galerie Brigitte Cappy- Hossegor, France
2014
Galerie Brigitte Cappy- Hossegor, France
ARTISTIC COLLABORATIONS
IN THE CONTEXT OF ARCHITECTURAL RENOVATIONS
2015
Studio Ashby - London- Typique Séquence series
2009
Opéra comique - Paris – Iron curtain decor
Château de Versailles - Opéra Royal - Mobile stage frame
2000
Hôtel Meurice - Café de l’hôtel – Painted ceiling.
1997
Château la Grezette - Cahors - Fresques
1995-1996
Théâtre du Capitole -Toulouse - Monuments historiques
Décor de la salle - Peintures monumentales
1993
Crédit Foncier - Paris - Salle des guichets – Fresque
IN THE CONTEXT OF PERMANENT MUSEUM SCENOGRAPHIES
2016
Musée de la tapisserie – Aubusson – Peintures monumentales
2007
Musée de la chasse - Paris - Plafond peint, salle du sanglier
2004
Musée du Luxembourg - Luxembourg - Panorama peint
1994
Cité de la musique - Paris - Maquettes peintes
1991-1992
Futuroscope - Poitiers - 12 Peintures pour les jardins d’eau
FOR HISTORICAL RESTITUTIONS, REGISTERED AS NATIONAL HERITAGE
2016
Château de Versailles - Petit théâtre de la Reine – Painted canvas
2010
Château de Versailles - Petit théâtre de la Reine - Painted canvas
2008
Opéra comique – Painted decor for Cadmus et Hermione
2006
Château de Versailles - Opéra Royal – Painted decor : Les petits riens
2005
Château de Versailles - Petit théâtre de la Reine – Painted canvas
IN THE CONTEXT OF THEATER, OPERA, CINEMA AND TEMPORARY EXHIBITIONS
2012
Château de Versailles - Opéra Royal – Ballet de Noverre
2011
Opéra Comique - Amadis - A. Fontaine - Paris
2008
Film : Coco avant Chanel - A. Fontaine
Metropolitan Museum - New York - Exposition Poiret
2007
Musée Galliera - Paris - Exposition : Les Années Folles
2006
Château de Versailles - Exposition : Dresde
Film : Marie Antoinette - S. Coppola
2005
Château de Versailles - Exposition KangXi
2004
Cirque du soleil - Corteo
2003
Opéra de Toulouse - Les maîtres chanteurs - Nicolas Joël
2002
Film : 24 heures de la vie d’une femme - L. Bouhnik
2000
Film : Vatel - Roland Joffé
1998
L’école des maris - B. Besson
1995
Film : La jeune fille et la mort - R. Polanski
1994
Festspielhauss - Opéra Salzburg - Don Giovanni - P. Chéreau
1993
Festspielhauss - Opéra Salzburg - Wozzeck - P. Chéreau
ALL THE TEXTURES OF THE WORLD
Frédéric Heurlier Cimolaï is a painter: he creates paintings. Shape comes into play, but also history. When using a blank canvas to attempt to create space on a flat surface, the first gesture is just one in a long chain of many, in which memory guides the hand. Heurlier Cimolaï’s first move is to center the work. He traces a sort of limit at the heart of the canvas that restrains the pictorial field of vision, and acts like a frame painted within the material frame, a priori the stretched canvas. It’s a way to inscribe the work in what Brice Marden refers to as the “Spartan limitations” of the painting. All comes together precisely in this spot and the viewer cannot leave the space, nor sidestep it: it is here in this zone that everything plays out. It is also a manner to enter more deeply into the work: by this inaugural gesture, the initial canvas is transformed into a painting, and the simple plane in space is used to reveal depth. It remains clear, and artist never tries to make us totally forget, that he is working on a flat surface, as this flatness is the very nature of a painting. Frédéric Heurlier Cimolaï begins to build, laying down a few simple shapes on his canvas, like strata in a multi-level space, which gradually come together to create the composition. Construction is a question of due measure: there is equilibrium of course, but also a fragile stability, a mix of weight and lightness. The right balance must be found so that the work remains a painting rather than becoming a purely static image: it is living matter, animated like a breath of life.
When Frédéric Heurlier Cimolaï paints, using a few shapes dispersed like an underlying architectural structure reinforcing his canvas in this deliberately carved out space; it allows him to give free reign to his joy in participating in the long history of this thing we call a painting. He uses tempera; a technique previously used to paint icons, or for working on materials like plaster or wood. The artist is aware of this, and his work carries the weight of memory. Beholding his large-scale paintings, the viewer is reminded of a fresco, of the feeling of a fresco. This is not necessarily due to the visual appearance but rather the sensation: the quality of the surface that is inherent to painting. Viewing a work by Frédéric Heurlier Cimolaï is indeed all about sensations: we of course see a play of shapes that appear and then are hidden, but there is most importantly a call to take to the time to truly see, to intentionally lose one’s self in the work. We feel, because from one form to another, from one color to another, the painter never ceases to offer additional sensations: soft or rough, smooth or hard, or silky. His work contains all the many textures of the world, in the space of one painting.
Pierre Wat
