Matters of life, death, love, the body and the soul are all present in George Rouy’s startling new exhibition at Almine Rech in Paris. Here, the British artist talks about how he first fell in love with art, and why his paintings must “vibrate”
’s work, usually bursting with carnal desire and vitality, takes a different tack in the final painting featured in his new solo show in Paris. In, a ghostly figure melds into an abstract landscape, succumbing – or suffocating – underneath vigorous swathes of coloured paint, while a pink haze – a soul, an aura – drifts skyward. “This is the closest to a death painting I’ve ever made,” Rouy explains. “It’s probably the heaviest painting [in the show], maybe the most challenging.
In person the day before the show’s opening, Rouy is almost as colourful as his paintings, his hair dyed turquoise to match his eyes, and his mouth a metallic blur of gold grills. fucking fell in love with art. It felt like you were in a bloody funfair rather than the art exhibition,” he says, citing the “wild” work of the Chapman brothers and Chris Ofili and Damien Hirst. “I fell in love with the experience ... it was so strange.Courtesy the artist and Hannah Barry Gallery. © Hannah Barry Gallery.
Music is also an integral part of the artist’s practice; he begins his mornings in the studio listening to techno to stay awake, and then progresses to pop and punk. “
France Dernières Nouvelles, France Actualités
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