Thibauld Mazire

May 23 to June 24, 2019
Raw Towers stand 22 alley 1 Paul Bert

Thibauld Mazire, born in 1970, graduated in 1991 from Métiers d'art (lacquer) at the Olivier de Serres National School of Applied Arts in Paris. He teaches at the National School of Applied Arts Olivier de Serres since 1999.
President of the association LAC (laceurs associated for creation), he participates in many exhibitions in Paris and in the provinces, as well as in Japan, where his work has been awarded with the prize "The Japan Paintmakers Association, Chairman Prize" on the occasion of the exhibition "The International Ishikawa Urushi Design Competition 96" in Kanasawa.
He also participated as a jury in the competition "Ishikawa International urushi design competition 2005" in Kanasawa, Japan, and was present on two sessions of MAC 2000 in 2007 and 2008.
Like many artists of his generation, Thibauld Mazire first took the path of abstraction, the alliance of a large gesture and a precise invoice, warm colors and shine from lacquer and metal. "Lyric abstraction", to borrow a formula that the painter George Mathieu applied to the large format paintings that caused a sensation in the sixties, this apogee of the Fifth Republic.
In recent years, Thibauld's research has taken a new direction, with a return to the figure, which can be landscape, architecture or human form. Through the technique of photographic transfer, the lacquerer brings the real into the imaginary, without there being any intention of realism.
The last series he delivers to our examination contribute to this inspiration. They offer, in a muted palette, landscapes of mountains, hills and seasides, milky or threatening skies, the storm is not far.
Landscapes dark and dreamy, sometimes animated by black silhouettes, and tending to abstraction: from dream to reality, what matters are subtle effects of light, which ceaselessly explore the resources of lacquer, its infinite possibilities.
Thibauld Mazire uses new generation so-called "water-soluble" varnishes available on the market. Close to acrylic, soluble in water, they are part of the concern to preserve the environment by a reduction of volatile organic compounds (VOCs) strongly limiting the use of heavy solvents. The "water-soluble" varnishes have the quality of being extremely translucent, non-yellowing, allowing a use of very light shade to pure white, not very traditional in lacquer.
The realization begins with the preparation of the support, a board of sanded wood or the masking of a paper replaces the traditional finishing, with in some cases an inkjet print of a photograph. The layers of varnish loaded with pigment and then glazes (varnishes tinted with translucent colors) bring by stratification the play of materials and transparency. Each sanded layer confers the quality of depth. The laying of metal sheet, silver or gold, brings a luminous sparkle. The finish is achieved by laying several layers of a varnish deliberately preserved satin.