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Laurent Prudot

Artist Spotlight

I like the color of my brushes or the stains of my MONOTEMPREINTES to take me to the end of the canvas, to fade, fade, vibrate, disturb, disturb the viewer's vision.

Lines atomized into spots that vibrate within the space of the canvas; the work of Laurent Prudot is the product of a continuous dialogue between two antagonistic principles of abstraction: on the one hand, precise and systematic geometry, on the other, the emphasis on traces, misplacements, and other "painterly" accidents inherent in the execution of the work that the artist decides to save rather than omit.


Prudot became a painter almost by accident. After studying at the School of Decorative Arts and ESAM he dabbled in illustration, graphic design for theatre posters, and much more. Painting, he did in his spare time, on Sundays or in the evenings, until one evening, by chance, he discovered a new painting process: "the MONOTEMPREINTE", which would become his signature style. We interviewed to learn more about his artistic technique. 


Q. Have you always wanted to become an artist?

A. Very early on, I felt the need to create; I felt this need to imagine, to feel my hand exploring the surface of the canvas as my imagination dictated its movements. I wanted to be a creative person before I wanted to be an artist. I first studied graphic design, then Arts Déco in Paris, to get familiar with all the artistic techniques, then I did illustration, publishing and, very quickly, by desire and by necessity, I started to paint as an artist, while continuing my other professional activities in parallel.

Q. Was there a specific turning point in your artistic career?

A. This moment occurred one day when I felt that I had finished all my professional activities, my commissioned work, and I needed to take the time and freedom to express myself. At first, I made abstract works, with a lot of different materials, very pasty (earth, cement, clay, plaster, ash, etc.), always with the same pictorial technique. Over time, however, the material took me in a different direction. The works became more figurative, until the day I invented my tool the MONOTEMPREINTE and everything changed, ... I did not see the colors in the same way anymore; I approached the canvas, the work, in a completely different way with finished the materials, it became smooth.

Q. Could you describe your Monotempreinte technique and how it became your signature style?

A. The MONOTEMPREINTE a tool that I invented, but to which I gave this name much later. At the time, I did not know that it would become my trademark, my signature style. One evening, by chance, when wanting to try a canvas engraving technique, I created this tool, which is at the same time monotype, stamp and imprint. Today, it allows me to create shapes, endless stains, which will never be the same, like a monotype, with the same stamp, but the print is always different. At the beginning, I did not know how to master it, I used to hide it under my paintings, as a background, but with time it surfaced and became very present and now it is my signature.

Q. There seems to be a sense of rhythm and movement in your pieces, how do you determine this? - does it derive from a specific source of inspiration?

A. This rhythm, I would say, this vibration, comes from my first paintings that I made with MONOTEMPREINTES only, without adding any background colour or other elements. A very pure, almost minimalist beginning with no specific source of inspiration. My hand dictates what the tool should do. I choose my colours because they have a singularity between them, they stand out from one another and become the ideal support for my MONOTEMPREINTES.

Q. Your work seems to show a certain balance between precise systemic geometry and more spontaneous gestures that show the artist's hand - how do you find the balance between the two?

A. My work features very linear, very geometrical, very precise colour gradations that are broken, destroyed, disturbed, by spots or shapes on the canvas, where chance and the nature of the tools, the MONOTEMPREINTE, trace their path. This is what creates the balance of each canvas, its vibrations and its rhythm - the interaction between a very linear geometry and the stains created by the MONOTEMPREINTES. Currently, my work is evolving, the lines are becoming less precise, less linear, less constructed, faster, and more spontaneous. The work is applied to multiple surfaces, the MONOTEMPREINTES are less precise, but are always present and always with the same rhythm.

Q. Which artists or artistic movements have had an influence on your work?

A. I like artists as varied as Agam, Buren, Vazarely, and Morellet, or Ellsworth Kelly, Sol LeWitt or Bridget Riley and Barnett Newman, but also Cy Twombly, Paul Klee, Mondrian, Sean Scully, Sonia and Robert Delaunay.... the list is long, and surely, perhaps without knowing it, they have had an influence.

Q. What would you like your work to evoke in the viewer?

A. For me, each viewer can find what they want to see in my work. I give free rein to everyone's imagination; I'm not here to tell them what they should look at. The painting is to be looked at, it expresses itself, I don't express for it. What interests me is what it tells about itself.

Q. Could you describe your work in three words?

A. MONOTEMPREINTE, rhythm, vibration, color, transparency, layering.

I like the color of my brushes or the stains of my MONOTEMPREINTES to take me to the end of the canvas, to fade, fade, vibrate, disturb, disturb the viewer's vision.

Everything is transparent; the layers of paint accumulated and delicately superimposed, the gesture of the hand which can be guessed only through the play of the MONOTEMPREINTE.


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