Paul Rousso 2017

E X P O SIT IO N : 5 - 15 AO ÛT 2017 E X H IBIT IO N : AUG UST 5 T H - 15 T H , 2017

PAUL R O USSO

exposition et prévente en cours / exhibition and presale in progress

Amazing Spiderman, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene, 35 ½” x 83” x 8” (couverture | cover) Jolly Rancher, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene, 48” x 80” x 8”

GdB G A L E R I E

DE

BELLEFEUILLE

1367 avenue Greene, Montréal, Québec H3Z 2A8 Tél: 514.933.4406 de be l l e f e ui l l e .c om

ar t @ de be l l e f e ui l l e .c om

G A L E R I E

D E

B E L L E F E U I L L E

PAUL R O USSO

­The­Avengers­#150, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 32 ½” x 85” x 8”

G A L E R I E

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B E L L E F E U I L L E

Artiste né aux États-Unis, Paul Rousso a étudié au California College of the Arts. Son travail novateur se retrouve dans plusieurs grandes galeries et importantes foires d’art à travers le monde. Grand perfectionniste et doté d’une technique issue de la fusion de son imagination avec les nouveautés conceptuelles et technologiques, l’artiste anticipe le futur au moment où ces technologies commencent à peine à voir le jour et poursuit son objectif avec passion.

Rousso parvient avec panache à marquer les futures générations avec son travail distinctif basé sur la «profondeur plane» (Flat depth). Ce concept qu’il a peaufiné tout au long de sa carrière se définie par la progression logique d’un art résolument moderne : rendre un objet plat en trois dimensions en ayant recours à de multiples pratiques artistiques incluant la peinture, la sculpture, la soudure, la chimie, la manipulation et l’impression numérique.

Influencé à la fois par le Pop-Art et la culture classique, en passant par tous les paliers qui se trouvent entre les deux, Rousso commente la condition humaine tout en se dévouant corps et âme à l’évolution de son art visuel. À cette fin, son processus créatif devient à la fois élémentaire et complexe et lui permet développer minutieusement plusieurs œuvres simultanément. Son premier travail d’été, le design du loft de Tribeca de Robert de Niro, combiné à divers emplois d’artiste scénique à Hollywood et une brève carrière dans l’industrie cosmétique chez Grey Advertising, prêtent une touche ironique aux commentaires sociaux qui tissent la toile son travail parfumé par une vision internationale et globale.

Élevé en Caroline du Nord, Rousso trouve son inspiration dans les paradoxes du monde qui l’entourent et dans le travail des artistes qui ont débuté cette conversation et qui font évoluer la forme artistique. Son travail est facilement accessible à tous, mais cela n’empêche pas son éducation classique de faire surface à travers les conventions artistiques reconnues utilisées dans l’ensemble de son œuvre. La fascination de Rousso pour le papier (les devises, publicités, journaux et magazines) ainsi que son histoire et ses usages, son apogée et sa chute, constituent un thème emblématique souvent utilisé dans ses compositions. En dépit de la complexité de sa production artistique, le caractère et le sujet de ses œuvres rejoignent tous les citoyens du monde, à tel point qu’ils sautent pratiquement du mur. Les œuvres de Rousso se retrouvent dans plusieurs collections en Amérique du Nord, en Europe, au Moyen Orient, et de nombreux projets publics sont exposés aux États-Unis.

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Paul Rousso is an American-born visual artist and innovator. Educated at the California College of the Arts, his work is shown at galleries and art fairs around the globe. A prodigious perfectionist, his technique has leapt into the future, as his vision and imagination merge to embrace new conceptual and physical technology the moment they appear on the horizon.

Rousso relentlessly excels at his efforts to evolve as an artist who will put forth an enduring impact on subsequent generations with his life’s work, “Flat Depth.” This concept, which he has been refining his entire professional career, is the logical progression of modern art - to render a flat object three-dimensional, or to collapse a three-dimensional object into two dimensions - and is a fusion of countless complex artistic methods, including painting, printing, sculpting, welding, chemistry, digital manipulation and digital printing.

A student of both pop-art and deep classical culture, as well as the vast interceding spectrum, Rousso endeavors to express his commentary on the human condition while physically, psychically and temporally committing his entire life to the imaginative evolution of his visual artistry. Toward that end, his creative processes are linear and complex, with many pieces developing simultaneously, and painstakingly. His first summer job - designing the Tribeca loft of Robert De Niro - combined with stints as a Hollywood scenic artist and a brief career steeped in the cosmetics industry as an art director at Grey Advertising on the Revlon account, lend a wry touch to the social commentary woven through his work, and his vast and encompassing worldview flavors everything he creates.

Raised in North Carolina, Rousso traces his inspiration to the paradoxes of the world around him and the work of the artists who began the conversation, as well as every artist through time who has advanced the subject or the art form. His work is deliberately attainable to nearly every viewer, and yet his classical training shines through as time-honored artistic conventions are woven through his work. Rousso's fascination with paper - currency, advertising, newspapers, magazines - its history and use, its rise and fall, is an emblematic theme reflected frequently in his compositions. Despite the complexity of Rousso's artistic output, the character and subject matter of the art is relatable to all citizens of the world, so much so that it practically jumps off the wall, and straight into the viewer's gestalt. Rousso’s work is held in private collections in North America, Europe, the Middle East and beyond, and numerous public projects of his appear across the United States.

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New­York­Times­Arts­and­Leisure­6-19-16, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 49” x 52” x 9” 4

New­York­Times­Weekend­Arts­11-4-16­#2, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 48” x 43” x 8” 5

Lifesavers­Composition­#1, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 72” x 67” x 10” 6

Lullaby, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 52” x 77” x 7” 7

­New­York­Times­Sunday­Styles­9-11-16, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 50” x 68” x 10” 8

New­York­Times­Sunday­Styles­12-6-15­#2, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 48” x 39” x 9” 9

­Superman­#1, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 35” x 66 ½” x 6” 10

Silver­Surfer­When­Lands­the­Saucer­Part­2, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 33” x 66” x 9” 11

Archie­1954­Composition, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 28” x 24” x 4” 12

­3­Campbell­Tomato­Soup­Labels, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 25” x 58” x 6” 13

New­York­Times­Arts­and­Leisure­9-18-16, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 52” x 67” x 12” 14

New­York­Times­Sunday­Styles­11-29-15, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 49” x 67” x 18” 15

An­Unrolling­1000, 2014 technique mixte sur acrylique sculpté à la main | mixed media on hand sculpted acrylic 22” x 27” x 5” 16

­A­Stretched­100­Bucks, 2015 technique mixte sur acrylique sculpté à la main | mixed media on hand sculpted acrylic 27” x 38” x 6 ½” 17

A­Mumbling­Benjamin, 2017 technique mixte sur acrylique sculpté à la main | mixed media on hand sculpted acrylic 37” x 71” x 9” 18

Benjamin­With­Flop­Over, 2017 technique mixte sur acrylique sculpté à la main | mixed media on hand sculpted acrylic 42” x 68” x 13” 19

New­York­Times­Sunday­Styles­12-18-16, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 50” x 67” x 11” 20

New­York­Times­Thursday­Styles­5-10-15, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 44” x 52” x 8” 21

Comic­Book­Composition, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 71” x 70” x 4” 22

Silver­Surfer­Composition, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 73” x 65” x 5” 23

NY­Times­12-20-15, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 48” x 42” x 9” 24

Financial­Times­12-13-12, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 44” x 74” x 8 ½” 25

KitKat­Wrapper, 2013 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 37” x 30” x 9” 26

­Doublemint­Crush, 2013 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 32” x 54” x 6” 27

New­York­Times­Food­12-7-16, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 49” x 51” x 10” 28

­New­York­Times­Travel­5-15-16, 2016 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 50” x 40” x 7” 29

Almond­Joy­Fun­Size­Vertical, 2013 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene 38” x 39” x 1” 30

PAUL­ROUSSO Né / Born - 1958, Charlotte, NC, USA Vit et travaille / Lives and works – Charlotte, NC, USA EDUCATION 1981 1978

BFA, California College of the Arts, Oakland, CA, USA Cleveland Institute of Art

EXPOSITIONS­SÉLECTIONNÉES SELECTED­EXHIBITIONS 2017 2016

2015

2014 2013

2012 2011

2007

2005 2003 1997

Paul Rousso, Galerie de Bellefeuille, Montreal, QC Mix and Match Exhibition, Smith Davidson Gallery Amsterdam, The Netherlands Art New York, New York, NY, USA Art Palm Beach, West Palm Beach Convention Center, Palm Beach, FL, USA Art Miami, Miami, FL, USA PAN Art Fair, Amsterdam, The Netherlands Art New York, New York, NY, USA A Art Show, Los Angeles, CA, USA Scope Miami, Miami, USA Scope New York, New York, New York USA LA Art Show, Los Angeles, CA, USA Art Miami, Miami, FL, USA Scope Basel, Basel, Switzerland Scope New York, New York, New York, USA Art Baltimore, Baltimore, MD, USA Art Wynwood, Miami, FL, USA ArtPrize, Grand Rapids, MI, USA ArtHamptons, Bridgehampton, NY, USA Boston International Art Fair, Boston, MA USA LA Art Show, Los Angeles, CA, USA The Butterfly Project, Holocaust Memorial, Sculpture for the Foundation of Shalom Park, Charlotte, NC, USA Scope Basel, Basel, Switzerland Scope New York, New York, NY, USA Scope Miami, Miami, FL, USA Public painting for the Foundation of Shalom Park, Charlotte, NC, USA Onessimo, Palm Beach Gardens, Palm Beach, FL, USA FADA, Los Angeles, CA, USA Paul Rousso Studio, Charlotte, NC, USA Paul Rousso Studio, Charlotte, NC, USA Charlotte International Airport, Charlotte, NC, USA

1994 1992 1991

NC Spirit Square Arts Center, Charlotte, NC, USA Carillon Building, Charlotte, NC, USA Spirit Square Arts Center, Charlotte, NC, USA Paul Rousso Gallery, Charlotte, NC, USA Lincolnton Cultural Center, Lincolnton, NC, USA Paul Rousso Gallery, Charlotte, NC, USA\

­COLLECTIONS­SÉLECTIONNÉES SELECTED­COLLECTIONS Greensboro Children’s Museum Bridgetree, Inc. Family Dollar Stores Leon Levine – Family Dollar Stores Wray Ward National Gypsum Carolina Handling Eastern Federal Corporation Mayer, Brown, Rowe and Maw Law Firm Auto Bell Levine Jewish Community Center Randstad 31

BIBLIOGRAPHIE BIBLIOGRAPHY Baker, Brett. "Painters Table: Top 10 Best Posts: February 2012" The Huffington Post. March 15, 2012, www.huffingtonpost.com/news/kurtsolmssen Groff, Larry. "Conversation with Kurt Solmssen". Painting Perceptions. Feb. 20 2012.

Albala, Mitchell. "The Harmony of Neutrals" Artist and Illustrators Magazine (UK) August 2011 Arts Agenda, City Arts New York's Review of Arts and Culture, Feb. 9, 2010 Pg 14 Albala, Mitchell Landscape Painting: Essential Concepts and Techniques for Plein Air and Studio Practice Watson-Guptill, Nov. 2009 Kurt Solmssen, “Light and Shadows of Puget Sound”, American Art Collector, June 2008 Schneider, Wolf, “California Best of the West”, Sounding Off, Southwest Art, January 2007 Naves, Mario, “Figures Out Aesthetics of Human For” The New York Observer, 8/15/05 Rebello, Stephen, Familiar Places Southwest Art, July 2004 Faigin, Gary Review Kuow Radio NPR, Oct., 2003 Fauntleroy, Gussie “Representing Washington”, Southwest Art, Nov., 2002 Los Angeles Times, Calendar Weekend, May 2, 2002 Bernstein, Fred A New Lease Metropolitan Home, Sept. Oct. 2002 Gazing West end page feature, Southwest Art, April, 2001 Johnson, Ken Review The New York Times, February 25, 2000 Hamard, Karine Things to do and See in Seattle, Alaska Airlines Magazine, May 1994 Donahoe, Victoria Landscapes Address Environmental Issues, The Philadelphia Inquirer, 3/13/94 Kapitanoff, Nancy Northwest Exposure, Los Angeles Times, November 10, 1991 Crohn, Jennifer. Painting Like, and Unlike, Hopper's, The Philadelphia Inquirer, March 9, 1990 Fisher, Robert I. C. Philadelphia Scores, American , Sept. 1990 Donahoe, Victoria In Art Now, Lively Ventures From II Artists, The Philadelphia Inquirer, 5/20/90 Wright, Heather Philadelphia Art Now, Traditional Home, June 1990 Donahoe, Victoria Realistic Scenes Richly Painted, Philadelphia Inquirer, Dec. 5, 1987 Mossman, Tam Suburban and Urbane, Art Matters, March 1985 Vol. 4, No. 6 Donahue, Victoria, Review, Philadelphia Inquirer, February 23, 1985 Southwell, William Looking Forward: New Talent, New Art Examiner, Summer 1985

© G A L E R I E D E B E L L E F E U I L L E , 2017 ISBN: 978-2-924821-00-8 Dépôt légal - Bibliothèque et Archives nationales du Québec, 2017 Dépôt légal - Bibliothèque nationale du Canada, 2017 Conception / Design: Galerie de Bellefeuille Texte / Text: Paul Rousso Traduction / Translation: Mathieu Mundviller & Grégory Cancé Publié par / Published by: G A L E R I E D E B E L L E F E U I L L E Impression / Printer: Transcontinental Imprimé au Canada / Printed in Canada 32

E X P O SIT IO N : 5 - 15 AO ÛT 2017 E X H IBIT IO N : AUG UST 5 T H - 15 T H , 2017

PAUL R O USSO

exposition et prévente en cours / exhibition and presale in progress

Amazing Spiderman, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene, 35 ½” x 83” x 8” (couverture | cover) Jolly Rancher, 2017 technique mixte sur styrène sculpté à la main | mixed media on hand sculpted styrene, 48” x 80” x 8”

GdB G A L E R I E

DE

BELLEFEUILLE

1367 avenue Greene, Montréal, Québec H3Z 2A8 Tél: 514.933.4406 de be l l e f e ui l l e .c om

ar t @ de be l l e f e ui l l e .c om

G A L E R I E

D E

B E L L E F E U I L L E