Paintings. The word is plural, because the work of the artist Paul Hardy extends and broadens its definition. In his studio, paint no longer exists, it has become matter, sculpture, space. 

Trained as an architect, Paul maintains a close relationship with the materiality of things and the sensations they provide. Thus, in painting as in architecture, he sculpts, and the work created becomes a place of memory where the presence of the artist is manifest. 

His works transcribe the gesture, the existence of the movement, of the body that paints. The technique does not serve the work any more; it makes artwork itself, retaining the elusive and the invisible as captives of the matter. 


One discovers this will to retain time, to make visible the moment of creation - it would then be an art where chance and accident have their place in the design, and where time becomes substance. 

For Paul Hardy, paint is worked, molded, sculpted; the artist frees himself from constraints, moving away from traditional methods and the classical conception of a painting, too often considered as a flat surface covered with colors. Where experimentation takes precedence over representation, it is then a question of considering abstraction as the protagonist of reality; and Paul Hardy's artworks as fragments tending to reveal the possibility of an anti-painting in the art world. 

 

From the negation of the conventional vision of the artwork or towards the broadening of its concept; Paul Hardy is situated between two, and this tension becomes a force tending to emerge in the course of experiments. The artist brings a new language, structured through a total production, because he denies the brush that he replaces by tools of his creation. 

 


Paintings or presences? Where the material is as much work as support, it is obvious that the works inhabit the space they occupy. The mural and minimalist sculptures extend, take place, and thus, welcome the spectator, giving themselves to be seen. Paul Hardy offers us utopias anchored in reality, paradoxical essences driven by the body and governed by meaning - in other words, the freedom underlying the material. 

 

Margaux Delaporte 

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