Philippe Decrauzat uses a variety of media for his work – wall painting, shaped canvases, objects, installations and works on paper. He elaborates, in his voluntarily limited and thus flat chromatics, complex geometrical compositions.
His abstract practice is first and foremost situated in the lineage of Op art of the 1960s, but running through the artist’s fascination for optical forms is an interest in graphics, cinema, architecture and even literature.
As Decrauzat explains, he is ‘interested in [the] direct relationship Op art provides to the viewers and the way it influences their minds. Unlike some artists from the 1980s, I am not trying to build up a new theory about ideological issues regarding the historical content of abstraction. I am strongly involved in investigating the status of the image, in other words, indebted to practices trying to outline the critical tools developed by Conceptual and Op art.’
This monograph is published with the Guggenheim Stiftung, Zurich; the Centre d’art contemporain, Geneva; and Le Spot, Le Havre.