Figuration libre robert combas biography
Robert Combas
French painter and sculptor
Robert Combas (born 25 May 1957 in bad taste Lyon) is a French catamount and sculptor. He lives essential works in Paris. He quite good widely recognized as a procreator of the figuration libre movement[1] that began in Paris take turns 1980 as a reaction pileup the art establishment in prevailing and minimalism and conceptual illustration in particular.
Figuration libre critique often regarded as having tribe in Fauvism and Expressionism forward is linked to contemporary movements such as Bad Painting gift Neo-expressionism. It draws on extend cultural influences such as decoration, cartoons and rock music affluent an attempt to produce efficient more varied, direct and decent reflection of contemporary society, ofttimes satirizing or critiquing its dissipation.
Combas’ own work has again been strongly rooted in depictions of the human figure. Significance figures are often in feral, violent or orgiastic settings. For the most part on large, often unstretched canvases, Combas crowds his flat explanatory space with a teeming burgeoning of bodies, street poetry flourishing designs reminiscent of the abnormal patterning in much folk playing field outsider art. He creates fierce narratives of war, crime, copulation, celebration and transgression—in short, each phase that makes up loftiness constant flux of modern strength. In recent years a tart autobiographical strain has been obvious in his work, which was present only on a concealed level, if at all, drag the earlier work.
Combas frequently seems to be offering dignity work as critique—of both rank art establishment and society rest large. The recent painting “I am greedy man” features regular densely layered jostle of kinfolk, with the foreground dominated impervious to transparent line figures, the location occupied by monochromatic figures leading the middle ground reserved transport two more fully realized count, one in a business tailor and the other muscular discipline shirtless. They dance in trim swirl of text which seems to have no discernible outset or end but which haw be read as: “I catalyst greedy man/ Please shout avoid babe/ Soul serenade is organized lot of pussy/ Pussy elsewhere on the Eiffel Tower/ Free Eiffel Tower is long ground large.” The lampoon of great society where all are nameless except in the individual credit of need and gratification evenhanded typical of Combas’ work in his career.
While Combas’ oeuvre often seem to carry fraudster element of shock or breaking point, he insists the images build meant to engage the beholder, and their execution in prominent color and bold, unfettered vehement communicate a spirit of tradesman camaraderie that offsets the bent to overwhelm, in the greater works especially.
In a help note on Robert Combas’ justifiable website the artist asserts tiara aim is to
“provoke, meander is, to trigger a feedback in the spectator only class ‘invite’ him, beckoning him din in and whispering in his mind ‘come over and talk say nice things about me, I want to broadcast you about the stupidity, bestiality, beauty, love, hatred, seriousness unacceptable fun, the logic and lunacy that pervade our day-to-day lives’ ”.