Gauthier Huber in Sikart, 2007

“(…) Les travaux d’Hervé Graumann sont intimement liés à la question de la représentation dans le monde des médias digitaux, dont l’une des caractéristiques est de traduire dans un code binaire des informations de natures et de provenances diverses. Raoul Pictor cherche son style constitue à cet égard une œuvre programmatique, dans la mesure où elle fait basculer la figure même du peintre, représentant par excellence d’un art «traditionnel», dans le domaine virtuel. (…)” texte intégral

l.o.s.t.

 

titrelostgrat3
When Hervé Graumann created a painter-machine, gave it a name and something to work with (ink, paper, and electricity), he did not realize that he had just created a personage which was to plunge him into obsession and challenge the very individuality of his artistic production. If at first “Raoul Pictor” was indeed something produced by Graumann (after all, hadn’t he written all the lines of code in the program?), it now seems it has gotten paint all over its author. Is it possible that the author, an individual who creates and expresses himself, has now been reduced to the mute speech of his machines?
Without hiding behind such questions of identity, Graumann nonetheless situates his work on that abstract, blurry boundary between author and machine. In his project for documenta’s website, it is hard to know who is expressing himself and who is the depressive, abandoned figure calling for help. Yet the latter is doing just that from a specific place on the World Wide Web. Furthermore, he can only be reached there. (Or is he in fact only on the viewer’s screen)?
In fact, it all begins with a blank screen. By moving the cursor with a mouse over the screen, one moves a white disc that looks something like the beam of a flashlight. Little by little, this shape reveals a text that is legible only by sweeping it with the beam of light: “ugh! this isn’t my day,” then “no” and “for how long?” Or “total darkness, locked up,” then “alone” and “locked up, alone, lost! alone, forgotten.” One can never predict where the words, brought to life but broken to bits and spread over the screen, written in small letters or big, will appear next; nor can we say whence they come, nor who is uttering them. Yet suddenly a window appears, allowing one to write directly to lost@sgg.ch, like a despairing appeal for contact. It remains to be seen who the person to be contacted will be, or what will become of the messages.
As much as man may be seduced by the machine, he nonetheless fears it. Similarly, Graumann’s work plays on both these feelings. Neither a positivist nor a catastrophist, he can make machines execute a number of operations sufficient to feign their independence, enough for them to have an opportunity to seduce us, thereby revealing yet another form of human genius.

Simon Lamunière

lost_person_negativ

 

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The Hole (d’après l.o.s.t.), 2000 – sérigraphie noir et blanc / black and white serigraphy – 70 x 100 cm.

 

 

 

raoul pictor oil paintings – 2k9 series


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cut/paste

Sans titre, 2019 – bois, découpage, collage – 162×120 cm.

Cible

Sans titre, 1988 – cible, découpage, collage / target, cut-up and collaged – Ø 43 cm.

Sans titre, 1988 – livre coupé et recollé / book, cut-up and reassembled – 26 x 14 x 4 cm.

Sans titre, 1988 – livre coupé et recollé / book, cut-up and reassembled – 26 x 14 x 4 cm.

Sans titre, 1988 – disque vinyle coupé et recollé / record, cut-up and reassembled – Ø 17.5 cm.

Sans titre, 1988 – disque vinyle coupé et recollé / record, cut-up and reassembled – Ø 17.5 cm.

Sans titre, 1988 – barrière de chantier, découpage, collage / wood barrier, cut-up and collaged – 80 x 200 cm.

Sans titre, 1989 – disque vinyle coupé et recollé / record, cut-up and reassembled – 5.5 x 30 x 1.5 cm.

Sans titre, 1989 – disque vinyle coupé et recollé / record, cut-up and reassembled – 5.5 x 30 x 1.5 cm.

Sans titre, 1989 – disque vinyle coupé et recollé / record, cut-up and reassembled – 7.5 x 17.5 x 0.5 cm.

Sans titre, 1989 – disque vinyle coupé et recollé / record, cut-up and reassembled – 7.5 x 17.5 x 0.5 cm.

fit chair, 1989 - chaise coupée & recollée

fit chair, 1989 – chaise coupée & recollée

Photosculptures

Photo_Box_88RET_pdef

Sans titre, 1987 – photographie noir et blanc – black and white photograph – 40 x 50 cm.


Photo_panier_pdef

Sans titre – 1988 – photographie noir et blanc / black and white photograph – 30 x 46 cm.

Photo_basket_pdef

Sans titre, 1988 – photographie noir et blanc / black and white photograph – 30 x 30 cm.

Phot_Boite_Sony_pdef

Sony box I, 1991 – photographie noir et blanc / black and white photograph – 70 x 70 cm.

Photo_Box2_1991_def

Sans titre, 1991 – photographie noir et blanc – black and white photograph – 70 x 70 cm.

Photo_box_geoRose_pdef

Sans titre – 1991 – photographie noir et blanc / black and white photograph – 130 x 150 cm.

Composition paysagère # IV

Composition paysagère no IV, 2000 – Signatures de Bernard Merle, Michel Vallée, Frédéric Montagne, Nicole Buisson, Charles Rivière & Marie-Claude Chemin acrylique sur toile / acrylic on canvas – 200 x 300 cm.

Composition paysagère no IV, 2000 – Signatures de Bernard Merle, Michel Vallée, Frédéric Montagne, Nicole Buisson, Charles Rivière & Marie-Claude Chemin
acrylique sur toile / acrylic on canvas – 200 x 300 cm.

PaysageSign_PersonnesLyon_pdef

Who’s next?

WhosNext_HV(5*7)_gifanim

 

 

Who’s next ? (white), 1999 – acrylique sur toile / acrylic on canvas – 110 x 200 cm.

Who’s next ? (white), 1999 – acrylique sur toile / acrylic on canvas – 110 x 200 cm.

WhosNext_Silver

Who’s next ? (silver tryptic), 1998 – acrylique sur toile / acrylic on canvas – 70 x 180 cm.

WN_Gold

Who’s next ? (gold), 1997 – acrylique sur bois / acrylic on wood – 80 x 150 cm.

WN_fluo

Who’s next ? (orange fluo), 1998 – acrylique sur bois / acrylic on wood – 65 x 110 cm.

Who’s next ? (rounded & white), 2000 – acrylique sur bois / acrylic on wood – 80 x 150 cm.

WN_grise_kod_face

Who’s next ? (grey), 1999 – acrylique sur toile / acrylic on canvas – 200 x 110 cm.

WN_varGris1000BsEd

Who’s next ? (variation in grey), 2004 – dessin vectoriel / vector drawing

PTL pattern

@ Post Tenebras Luxe, Musée Rath, Geneva, 2009

PTL©SandraPointet_008_RET

“PTL pattern”, 2009

PTL©SandraPointet_007

“PTL pattern”, 2009 – installation, sundry objects – appr. 300×300 cm. (Photo Sandra Pointet)

PTL©SandraPointet_008_RETdetail

 


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