CARBORUNDUM ENGRAVING

MATERIALS-SHAPES-COLORS AGREEMENT

Until the end of the 19th century, engraving was above all a means of reproduction linked to the mastery of a know-how. It was only at the beginning of the 20th century, and under the impetus of painters, that it became a source of original creations without questioning the many established processes. It was not until the arrival of Henri Goetz with his invention of carborundum engraving, adopted since then taught in many countries.

Bernard Alligand met Henri Goetz in 1985 in Nice. This meeting allowed him to explore new techniques around carborundum engraving.

Bernard Alligand collaborates with several engraving workshops and publishers: Félix Richard, Bernard Rémusat, Pasnic workshop, RLD workshop, L'Estampe ...

Work in progress at the Pasnic workshop, with Nicolas du Mesnil

THE AESTHETIC EXPERIENCE

A DIFFERENCE FROM DRAWING OR PAINTING which tend to favor visual perception and remain - at least partially - arts of illusion, engraving , without completely excluding this character, is primarily addressed to the tactile sense . This trait immediately appears in the work of Bernard Alligand. It translates into the indisputable primacy of depth . Indeed, to obtain an engraving, in all cases, it is a question of digging. Regardless of the plate we have chosen - copper, zinc, linoleum, wood ... - the essential lies in the relief that will emerge when printed . However, in Bernard Alligand, there is this obsession with the imprint, with this indelible mark in the paper submitted to the press, with the hand and the tool which prolongs it.

Such an enterprise implies lucid choices: plates, papers, tools, inks ..., and proven techniques! In this field where chance and mastery come together, success can only be the fruit of countless patiently accumulated experiences. So through it the virtuosity of Bernard Alligand was revealed.

Extract from the catalog raisonné volume I. Text by Yves Mairot - May 2004

Le temps. 2009.
Le temps. 2009.

F. 33 x 33 cm, image 22 x 22 cm. 30 ex. numérotés, signés par l'artiste. Ed. AB

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Perles. 2008.
Perles. 2008.

F. 34 x 34 cm, image 22 x 22 cm. 30 ex. numérotés, signés par l'artiste. Ed. AB

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Rivière d'encre. 2010.
Rivière d'encre. 2010.

F. 100 x 66 cm, image 84 x 50 cm. 8 ex. numérotés, signés par l'artiste. Ed. AB

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Le temps. 2009.
Le temps. 2009.

F. 33 x 33 cm, image 22 x 22 cm. 30 ex. numérotés, signés par l'artiste. Ed. AB

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Gravure au carborundum. Plusieurs passages, collages, intervention au pochoir, sur papier Moulin de Larroque 600 g. 

THE AESTHETIC EXPERIENCE

A DIFFERENCE FROM DRAWING OR PAINTING which tend to favor visual perception and remain - at least partially - arts of illusion, engraving , without completely excluding this character, is primarily addressed to the tactile sense . This trait immediately appears in the work of Bernard Alligand. It translates into the indisputable primacy of depth . Indeed, to obtain an engraving, in all cases, it is a question of digging. Regardless of the plate we have chosen - copper, zinc, linoleum, wood ... - the essential lies in the relief that will emerge when printed . However, in Bernard Alligand, there is this obsession with the imprint, with this indelible mark in the paper submitted to the press, with the hand and the tool which prolongs it.

Such an enterprise implies lucid choices: plates, papers, tools, inks ..., and proven techniques! In this field where chance and mastery come together, success can only be the fruit of countless patiently accumulated experiences. So through it the virtuosity of Bernard Alligand was revealed.

Extract from the catalog raisonné volume I. Text by Yves Mairot - May 2004