Antoine Langenieux-Villard’s practice undertakes a constant investigation of the subject of painting. Through a number of series he explores the technique of collage, as a tool of construction, to stress the importance of the surface as a place to build.
By adding and discarding materials on the painting, Langenieux-Villard attempts to remove the trace of his hand from the making. The studio space is influential in generating the work as the artist gathers residues of previous paintings and found elements, and then assembles them through rivets, nails, sewing and other techniques of layering.
Looking to question the nature of the pictorial plane Langenieux-Villard often uses transparency in order to reveal and disrupt the support. The surface operates as a discontinuous chronology allowing the viewer to reassess the temporality and materiality that constitutes the work. The outcome behaves as a map of activity that lets one dissect the object of painting itself.
Antoine Langenieux-Villard (b. 1991) completed a BA in Fine Art at Central Saint Martins, London, in 2017. His work has recently been shown at: Arthouse1, London (2019); the Koppel Project Hive, London (2018); and Griffin Gallery, London (2017). He was recipient of the Kate Barton Award for Painting (2017), the Queen Scholarship Award (2016) and Phoebe Llewellyn Smith Award (2016).
Platform Foundation Asks
Who is your artistic hero? It goes from Henri Matisse to Robert Ryman.
Which work of art you wished you owned? The last painting of Nicolas de Staël, “Le Concert” (1955).
What is the most indispensable item in your studio? A bucket of water.
Describe your studio in three words: A countryside barn.
Do you collect anything? I have boxes full of the residues of my work and off-cuts.
What kind of music do you listen to while you work? Loud music. I obsessively listen to one album for weeks then I change.