Behind the Scenes (2015-16)
‘I think a film needs to be in a little bit of danger, like when one is walking on the side of the road. (...) It is through physically working the celluloid – manhandling it, cutting it, marking it, gluing it back together – that we give ideas vigour’. (Jacques Kermabon, ‘Entretien avec Yann Dedet’, in: 24 images, issue 77, 1995)
Posters of forgotten films, of ‘B’ movies, are purchased online or in specialized shops. Printed on poor quality paper, they are sometimes already yellowed along the creases, which remain visible once Platéus has glued their front side to the canvas.Transparency reveals silhouettes and traces of letters, which Platéus enhances using light tones that, paradoxically, evoke yet another disappearance.
A dialogue is thus born between the poster’s recto and verso sides: the side facing us plays with the codes characteristic of American abstract painting, while the imagery of the reverse side endures in the presence of – vaguely discernible – figurative fragments and/or words.

Virginie Devillez

acrylic paint, 154 x 115 cm.
Cousins, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Karate Warrior, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Dominique, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Une Baraque A Tout Casser, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Brute Force à Canton, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Le Bourgeois Gentilhomme, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
A Armes Egales, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Deux Bonnes Pâtes, 2015: acrylic paint, 154 x 115 cm.

acrylic paint, 154 x 115 cm.
Tonnerre, 2015: acrylic paint, 154 x 115 cm.