À Propos de Romain Schaller
Actualités récentes:
-2021: Exposition à la galerie "Artplu-Wuxi-Chine"
http://www.artplu.com/index.php?route=product/search&search=schaller
Quelques expositions solo:
-2001 Crédit Lyonnais LYON France
-2004 Agora de BRON France
" TEMPO " du 26/01/04 au 06/02/04
http://a-p-a.over-blog.com/article-a-p-a-association-pour-la-promotion-de-l-art-a-bron-41835176.html
-2008 Maison commune OINGT France
-2009 Maison des artistes BORMES les MIMOSAS France
-2009 Hôtel des célestins LYON France
-2011 (3 semaines) NOHO gallery NEW-YORK USA
https://www.facebook.com/nohogallery/photos/romain-schaller/167004076696739/
http://www.nyartbeat.com/event/2011/46E7
-2012 The southstreet gallery LONG ISLAND Greenport USA
-2012 Galerie EnBeauregard MONTREUX Suisse
-2013 Patinoire MONTHEY Suisse
-2015 Galerie Entrevue's Charbonnières les Bains France
-2017 mars entreprise informatique Tassin la demi lune France
Quelques expositions collectives
-RDV des artistes St Cyr au mont d'or France 2005,6,8,9,10
-2008 salon d'hiver LYON France
-2009 Salon international PUY en VELAY France
-2011 AGORA NEW YORK French perspective USA
https://www.youtube.com/watch?v=ZfexTAV7LZY
-2012 Casa batlo BARCELONE salon international Espagne
-2012 OUD KERK AMSTERDAM Hollande salon international
-2013 salon Smar't AIX EN PROVENCE
-2013 galerie métanoia PARIS France
http://lagaleriedesmarais.fr/fr/precedemment/expositions-passees/2142-mysterium-magnum.html
-2015 Select Art fair NEW-YORK
https://www.widewalls.ch/magazine/select-art-fair-new-york-2015/select-art-fair-2015-highlights
-2018 Eglise Condrieu France
Texte d'Agora gallery
Romain Schaller a réalisé une œuvre à la fois personnelle et universelle. Sa peinture est magnétique, attirant le spectateur avec sa taille et sa puissance. Schaller traduit le paysage en formes abstraites accidentées et tentaculaires, particulièrement axées sur les formes trouvées dans les montagnes escarpées balayées par le vent.On est frappé, non seulement par la générosité des textures succulentes, mais aussi par la façon
dont Schaller est capable de parler à travers ces formes gainées de gris cendré avec des notes d'ocre, de cramoisi et de bleu glacial.
Il peint avec cœur, en utilisant des formes et des textures lyriques pour ouvrir un conduit vers notre moi intérieur.
On peut imaginer que nous avons été emportés dans l'atmosphère pour apercevoir notre monde d'en haut avec des yeux satellites. Les gratte-ciel deviennent
un champ de stalagmites multicolores
imposantes tandis que les régions montagneuses semblent vibrer d'énergie tectonique.
Nous percevons la majesté de notre monde et l'intemporalité de toutes choses.
Romain Schaller has crafted a body of work that is at once personal and universal. His painting is magnetic, drawing the viewer in with its sheer size and power. Schaller translates the landscape into rugged and sprawling abstract forms, particularly focused on shapes found in craggy windswept mountains. One is struck, not only by the bounty of luscious textures, but also by the way Schaller is able to speak through these forms sheathed in ashen grey with hints of ochre, crimson, and icy blue. He paints with heart, using lyrical forms and textures to open a conduit to our inner self. One may imagine that we have been swept up into the atmosphere to glimpse our world from above with satellite eyes. Skyscrapers become a field of towering multihued stalagmites while mountainous regions seem to pulse with tectonic energy. We perceive the majesty of our world and the timelessness of all things.
Schaller has exhibited frequently in France as well as in the United States. He lives outside of Lyon, France
TEXTE DE ED Mc Cormack pour Gallery and studio NEW-YORK
Romain Schaller, Painter of a Ravaged World
An American abstract painter whom i knew once confessed, “I respect Chinese painting but it is an entirely different aesthetic and I can’t say that I really understand it.”
I knew what he meant, given the linear, mostly monochromatic character of traditional Chinese ink painting, which relates more to wash drawing as we understand it in the West than to the more palpably pigmented quality of most oil or acrylic painting. But had I been familiar with the work of Romain Schaller at that time, I certainly would have to called it to my acquaintance’s attention.
For Schaller, a French artist who names Kandinsky, Turner, Zao wu-ki and Wang Yan Cheng as important inspirations in the breath, has apparently synthesized the best of two worlds in the dynamic series of large oils that he calls: ” Dawn of a New Age.”
“The recent climatic events and the problems which followed force us to question our existence on the planet”, Schaller states, and his paintings evoke vast montainous vistas akin to those in Chinese scrolls, albeit in a vogorus abstract expressionist manner. And while the mood in Chinese ink paintings is generally pastoral and serene, Schaller’s compositions project a sense of a pre-apocalyptic darkness in keeping with his feeling that we are inhabitants of “an environment that is dying out.”
There is often an overcast somberness to some of Schaller’s paintings which is fully as ominous as that in some works by Anselm Kiefer. Yet it is often relieved by a gestural vivacity and painterly panache more akin to Cy Twombley. Schaller employs a varied vocabulary of painterly means, ranging from thick impastos to liquiefed drips of thinned pigment, with considerable élan to project a vital sense of process that lends his paintings striking immediacy while projecting a palpable sense of atmospheric agitation.
Created with brushes, rags, and fingers, his caressed and scumbled surfaces are at once rugged and elegant, in large compositions such as “A Ciel ouvert,” where a brilliant swath of cerulean blue hovers, pregant with catastrophe, in a gray stratospheric expanse above jaggedly fractured mounds of firmanent decomposing toward the bottom of the canvas in runny black rivulets. Here, too, the ambiguous figure-to-ground relationship, peculiar to abstract expressionism and other modernist modes of painting that adhere to the sanctify of two dimensional picture plane, leaves the question of wheter the area of blue is a patch of sky seen through a hole in a mass of cloud or some mysterious, perhaps threatening, natural phenomenon open to speculation.
Equally dramatic in its own way is the large diptych ”Blue Night,” where massive shadowy clouds converge form the outer edges of each panel toward an expanse of nocturnal sky set above a rocky terrain. while Schaller’s debt to Chinese landscape painting is clear, he has also learned a great deal about light, color, and atmosphere from Turner’s “tinted steam,” and his unique manner of lending depth and heft to the former by combining it with the tactile qualities and chromactic radiance of the latter constitutes a significant contribution to contemporary painting.
Had he not passed on the another plane some time ago, i can only guess that that the American artist with whose comment i opened this review would have himself enlightened by the paintings of Romain Schaller and agreed that nothing has been lost in translation. lost in translation.
-Ed McCormack-Gallery and studio-