Alain Lambilliotte
Alain Lambilliotte
Born on 27 April 1948, Charleroi, Belgium.
Lives and works in Belgium.
From 1964 to 1968, he studied at the Academy of Fine Arts in Mons.
From 1968 to 1973, studies at La Cambre, Engraving Workshop, Illustration.
From 1986 to 1987, Professor of Drawing at the Academy of Uccle.
From 1975 to 2013, Professor of Drawing at the School of Arts of Braine-l'Alleud.
Distinctions
1992 Gustave Camus Prize, awarded by the Belgian Academy.
1974 Mention in the "Frans Masereel" Prize for Engraving.
Lives and works in Belgium.
From 1964 to 1968, he studied at the Academy of Fine Arts in Mons.
From 1968 to 1973, studies at La Cambre, Engraving Workshop, Illustration.
From 1986 to 1987, Professor of Drawing at the Academy of Uccle.
From 1975 to 2013, Professor of Drawing at the School of Arts of Braine-l'Alleud.
Distinctions
1992 Gustave Camus Prize, awarded by the Belgian Academy.
1974 Mention in the "Frans Masereel" Prize for Engraving.
Alain Lambilliotte has been painting for nearly 40 years. He is a “painter” if painting consists in covering a surface with one or several colors. But at closer look, Lambilliote’s practice plays rather fast and loose with the rules of this art. In fact, he has become master in the art of walking off the beaten paths of conventions and traditions. From his very beginning in painting, he has shown a sense of transgression and appropriation indicative of a singular and original vision that quickly got him noticed by galerist Lucien Durand and invited to “Paris Travaux 77”, a major exhibition held at the Arc. There, he presented “works” which structures only referred to painting, integrating elements of drawing, print and assemblage that gave materiality to the object. He elaborated a dialectic of the part and the whole. Meaning that the frame was also drawing and structure. His “paintings” could be seen as “windows” for their relationship to the pictorial, but also as a piece of architecture opening walls, or the sliding structures characteristics of Japanese interiors. The artist played with the dynamic contrasts between what veils and unveils, showing however nothing more than the “gesture” of painting: line, trace, transparency and opacity. Mid-way between the ornamental and the analytical, Alain Lambilliotte puts us in plastic situations that disturbingly merge artistic rigor and a feeling of uncertainty, with a great deal of irony in the form of a discreet mockery of serious things.
Effortlessly, his practice has anticipated many of the approaches that “made” the recent history of painting and caught the attention of our institutions… like the art of combining decoration and deconstruction, handiwork and constructive logic, planning and chance, the “raw” and the “finished”. His work benefited form the Supports/Surfaces experiments while also finding inspiration in researches like Pattern Painting and Hard Edge. But he also -almost literally- added other strings to his bow: the art of reusing waste, composing with scraps, tying things up and resorting to practices other artists had used for totemic and symbolic purposes. Refusing false pretense, yet without condescendence, Alain Lambilliotte has appropriated archaic, industrial and craftsman’s practices without mimicry or vanity. Rather as an object and field of experiment, as well as possible modes of production.
In France, he has been one of the firsts to work with neon light both for its chromatic sheen and its way of blurring neat shapes. Some of his works strongly relate to Keith Sonnier. In his most recent pieces, the fluorescent colors combined with white outline and disrupt the form/content relationship in very subtle ways. His exhibition at the 19 Crac Montbéliard in 2010 left a strong impression on its visitors. With very few means, he managed to reach monumentality. There, simplicity served complex visual effects, as well as a use of the space that was both glorified and framed within the frame.
The artist understood a long time ago that painting no longer needed frame, and that it could make its way through colors.
With Lambilliote, color intermittently reconnects with the tradition of painting, but only to emancipate, as it freed itself from its chains and servitude to the image. This makes him a fine handyman who has brought up baroque in craftsman’s gestures and the art of drawing in the grooves of timber. And also decorative potential in the twists of a rope.
This is why those who keep in mind that art is also a way of seeing and that ways of seeing take part in a history of vision, techniques and know-hows, will be profoundly rattled by his art. Which, beyond the false modesty of its creator, manages to masterfully combine invention and craftsmanship, and appropriate non-artistic elements to renew itself.
Philippe Cyroulnik
Director of the 19 Montbéliard, Centre Régional d’Art Contemporain
Effortlessly, his practice has anticipated many of the approaches that “made” the recent history of painting and caught the attention of our institutions… like the art of combining decoration and deconstruction, handiwork and constructive logic, planning and chance, the “raw” and the “finished”. His work benefited form the Supports/Surfaces experiments while also finding inspiration in researches like Pattern Painting and Hard Edge. But he also -almost literally- added other strings to his bow: the art of reusing waste, composing with scraps, tying things up and resorting to practices other artists had used for totemic and symbolic purposes. Refusing false pretense, yet without condescendence, Alain Lambilliotte has appropriated archaic, industrial and craftsman’s practices without mimicry or vanity. Rather as an object and field of experiment, as well as possible modes of production.
In France, he has been one of the firsts to work with neon light both for its chromatic sheen and its way of blurring neat shapes. Some of his works strongly relate to Keith Sonnier. In his most recent pieces, the fluorescent colors combined with white outline and disrupt the form/content relationship in very subtle ways. His exhibition at the 19 Crac Montbéliard in 2010 left a strong impression on its visitors. With very few means, he managed to reach monumentality. There, simplicity served complex visual effects, as well as a use of the space that was both glorified and framed within the frame.
The artist understood a long time ago that painting no longer needed frame, and that it could make its way through colors.
With Lambilliote, color intermittently reconnects with the tradition of painting, but only to emancipate, as it freed itself from its chains and servitude to the image. This makes him a fine handyman who has brought up baroque in craftsman’s gestures and the art of drawing in the grooves of timber. And also decorative potential in the twists of a rope.
This is why those who keep in mind that art is also a way of seeing and that ways of seeing take part in a history of vision, techniques and know-hows, will be profoundly rattled by his art. Which, beyond the false modesty of its creator, manages to masterfully combine invention and craftsmanship, and appropriate non-artistic elements to renew itself.
Philippe Cyroulnik
Director of the 19 Montbéliard, Centre Régional d’Art Contemporain
Solo Show :
2016
Rollebeek Gallery, Brussels, Belgium
2015
Centre culturel d’Anderlecht: Maison des Artistes, Brussels, Belgium
2013
Galerie Esschius, Diest, Belgium
2011
Galerie Boycott, Brussels, Belgium
2010
MUCHaboutART, Brussels, Belgium
2009
Galerie Boycott, Brussels, Belgium
2008
Galerie Ivana Morozoff, Brussels, Belgium
2006
Fondation pour l’art belge contemporain, cité Fontainas, Brussels, Belgium
2005
Fondation Bolly Charlier Galerie Juvenal, Huy, Belgium
2004
Galerie Age, La Hulpe, Belgium
2003
Galerie Boycott, Brussels, Belgium
2001
Magdalena Baxeras Gallery, Barcelona, Spain
Van Lerberghe/Stas de Richelle Gallery, Brussels, Belgium
2000
Galerie Boycott, Brussels, Belgium
1999
Galerie Alain Winance, Tournai; Réalisation d’un décor de théâtre pour la quinzaine théâtrale de l’ULB, Brussels, Belgium
1998
Galerie Boycott, Brussels, Belgium
1997
Galerie De Vinci, Brussels, Belgium
Participation of Prince Pierre de Monaco, Monaco
1996
Galerie Boycott, Brussels, Belgium
Galerie M. Becker, Knokke le Zoute, Belgium
Participation au Prix Prince Pierre de Monaco
1995
Centre Culturel de Waterloo, Waterloo, Belgium
1993
Galerie S. Berryer, Brussels, Belgium
1992
Galerie Fumagali, Bergamo, Italy
Galerie M. Becker, Knokke le Zoute, Belgium
Galerie Benetter, Stockholm, Sweden
1991
Galerie Boycott, Bruxelles; Galerie A. Winance, Tournai, Belgium
1990
Galerie M. Becker, Knokke le Zoute; Galerie Fumagali, Bergamo, Italy
1989
Galerie M. Becker, Knokke le Zoute, Belgium
1988
Caves Ste Croix, Metz, France
1987
Galerie Polar Art, Brussels, Belgium
1986
Ligne Roset, Beverly Bvd, Los Angeles, California
BP Gallery, Brussels, Belgium
BP Gallery, Anvers, Belgium
1985
Belgian Week, Rich’s department Store, Atlanta, United-States
1983
Art Shop, Palais des Beaux-Arts, Brussels, Belgium
1982
Representation of Belgium at the Biennale de Paris, Paris, France
1981
Galerie A. Monett, Brussels, Belgium
1980
Atelier d’Art Européen, Brussels, Belgium
Médiathèque, Charleroi, Belgium
1979
Art Prospect Gallery, Brussels, Belgium
1975
Maison des Graphistes, Bruxelles, Belgium
Group Show
2014
Galerie Corinne Le Monnier, Le Havre, France
Espace 119, Brussels, Belgium
2009
Affodable Art Fair, Brussels, Belgium
2004
École des Arts, Braine-l’Alleud, Belgium
2002
«Printed Etchings » Centre Culturel, Perwelz, Belgium
2000
Isola Comacina Château Malou, Brussels, Belgium
1996
Prix Prince Pierre de Monaco , Monaco
1994
Galerie Boycott, Brussels, Belgium
1993
Galerie Boycott, Brussels, Belgium
1991
Galerie Boycott, Brussels, Belgium
1989
L’œil au bout des doigts , 100 Dessins de la Communauté Française de Belgique
1988
Linéart, Gand, Belgium
1987
La trace de Tintin dans l’Imaginaire des Artistes Le Botanique, Brussels, Belgium
1986
La trace de Tintin dans l’Imaginaire des Artistes , Maison de la Culture, Tournai, Belgium
1982
Print paper in Hainaut, Louvain-la-Neuve, Belgium
1981
Print paper in Hainaut, Museum of Mons, Belgium
1979
Dans le cadre des 50 ans de La Cambre, Musée d’Ixelles, Brussels, Belgium
1977
Art Jeune en Wallonie, au Musée de Mons; Prix Jeune Peinture, Palais des Beaux-Arts, Brussels, Belgium
1976
Avec le Groupe Ice Screen, Laboratoires Goossens; Château Malou, Brussels, Belgium
1975
Château Malou, Brussels, Belgium
1974
Château Malou, Brussels, Belgium
1973
Galerie Jacques Damase, Paris, France
1972
Antonion Segui et six Graveurs, Musée de Mons, Belgium
1970
Palais des Beaux-Arts, Charleroi, Belgium
1969
Palais des Beaux-Arts, Charleroi, Belgium
2016
Rollebeek Gallery, Brussels, Belgium
2015
Centre culturel d’Anderlecht: Maison des Artistes, Brussels, Belgium
2013
Galerie Esschius, Diest, Belgium
2011
Galerie Boycott, Brussels, Belgium
2010
MUCHaboutART, Brussels, Belgium
2009
Galerie Boycott, Brussels, Belgium
2008
Galerie Ivana Morozoff, Brussels, Belgium
2006
Fondation pour l’art belge contemporain, cité Fontainas, Brussels, Belgium
2005
Fondation Bolly Charlier Galerie Juvenal, Huy, Belgium
2004
Galerie Age, La Hulpe, Belgium
2003
Galerie Boycott, Brussels, Belgium
2001
Magdalena Baxeras Gallery, Barcelona, Spain
Van Lerberghe/Stas de Richelle Gallery, Brussels, Belgium
2000
Galerie Boycott, Brussels, Belgium
1999
Galerie Alain Winance, Tournai; Réalisation d’un décor de théâtre pour la quinzaine théâtrale de l’ULB, Brussels, Belgium
1998
Galerie Boycott, Brussels, Belgium
1997
Galerie De Vinci, Brussels, Belgium
Participation of Prince Pierre de Monaco, Monaco
1996
Galerie Boycott, Brussels, Belgium
Galerie M. Becker, Knokke le Zoute, Belgium
Participation au Prix Prince Pierre de Monaco
1995
Centre Culturel de Waterloo, Waterloo, Belgium
1993
Galerie S. Berryer, Brussels, Belgium
1992
Galerie Fumagali, Bergamo, Italy
Galerie M. Becker, Knokke le Zoute, Belgium
Galerie Benetter, Stockholm, Sweden
1991
Galerie Boycott, Bruxelles; Galerie A. Winance, Tournai, Belgium
1990
Galerie M. Becker, Knokke le Zoute; Galerie Fumagali, Bergamo, Italy
1989
Galerie M. Becker, Knokke le Zoute, Belgium
1988
Caves Ste Croix, Metz, France
1987
Galerie Polar Art, Brussels, Belgium
1986
Ligne Roset, Beverly Bvd, Los Angeles, California
BP Gallery, Brussels, Belgium
BP Gallery, Anvers, Belgium
1985
Belgian Week, Rich’s department Store, Atlanta, United-States
1983
Art Shop, Palais des Beaux-Arts, Brussels, Belgium
1982
Representation of Belgium at the Biennale de Paris, Paris, France
1981
Galerie A. Monett, Brussels, Belgium
1980
Atelier d’Art Européen, Brussels, Belgium
Médiathèque, Charleroi, Belgium
1979
Art Prospect Gallery, Brussels, Belgium
1975
Maison des Graphistes, Bruxelles, Belgium
Group Show
2014
Galerie Corinne Le Monnier, Le Havre, France
Espace 119, Brussels, Belgium
2009
Affodable Art Fair, Brussels, Belgium
2004
École des Arts, Braine-l’Alleud, Belgium
2002
«Printed Etchings » Centre Culturel, Perwelz, Belgium
2000
Isola Comacina Château Malou, Brussels, Belgium
1996
Prix Prince Pierre de Monaco , Monaco
1994
Galerie Boycott, Brussels, Belgium
1993
Galerie Boycott, Brussels, Belgium
1991
Galerie Boycott, Brussels, Belgium
1989
L’œil au bout des doigts , 100 Dessins de la Communauté Française de Belgique
1988
Linéart, Gand, Belgium
1987
La trace de Tintin dans l’Imaginaire des Artistes Le Botanique, Brussels, Belgium
1986
La trace de Tintin dans l’Imaginaire des Artistes , Maison de la Culture, Tournai, Belgium
1982
Print paper in Hainaut, Louvain-la-Neuve, Belgium
1981
Print paper in Hainaut, Museum of Mons, Belgium
1979
Dans le cadre des 50 ans de La Cambre, Musée d’Ixelles, Brussels, Belgium
1977
Art Jeune en Wallonie, au Musée de Mons; Prix Jeune Peinture, Palais des Beaux-Arts, Brussels, Belgium
1976
Avec le Groupe Ice Screen, Laboratoires Goossens; Château Malou, Brussels, Belgium
1975
Château Malou, Brussels, Belgium
1974
Château Malou, Brussels, Belgium
1973
Galerie Jacques Damase, Paris, France
1972
Antonion Segui et six Graveurs, Musée de Mons, Belgium
1970
Palais des Beaux-Arts, Charleroi, Belgium
1969
Palais des Beaux-Arts, Charleroi, Belgium