Date : 1980
Medium : Painting
Size : 160 x 240 cm
In 1966, Viallat began using a technique of prints: a identical form repeated on a free canvas, which determines the composition of the work.
He remained faithful to his founding principle, but constantly varied the material and techniques: colours, solarisation of the canvas, burying it in the ground, use of cloth canvas, tarpaulin, tent fabric, parasols. In 1970 he used the radical technique of exposing painted net and rope.
His work is marked by polychromes and prints, which became his signature characteristic.
This painting is a work by the artist Claude Viallat.
The first thing you will notice is the lack of a frame. This is because the canvas is not stretched over a wooden support, but is freely hung.
The freedom of the canvas, and of painting in general, is what the artist has been promoting since the 1970s in his support/surface group. He attempts to free painting from its age-old limitations.
How does he go about it?
First, he avoids any narrative by using a clear and restrained vocabulary: the use of limited colours, for the most part saturated primary colours, and the use of a unique and characteristic pattern The work of Claude Viallet is easily recognisable by the recurrent presence of his trademark form, reminiscent of a bean or a small bone. Colour is almost always used for contrast. It gives life to the regularly occurring patterns of the work.
According to Viallet, his work should evoke movement. To create this movement, the artist uses a range of materials: a canvas of jute or parachute fabric, or a tarpaulin as is used here. He is not trying to achieve an overly planned effect, and sews the various pieces of fabric together leaving the thread visible.
Yet another sacrilege of traditional painting!