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THE ARTIST'S BOOK, A SENSITIVE EXPERIENCE
BERNARD ALLIGAND, THE OTHER POET Gaston Puel 2008
Bernard Alligand is one of the rare illustrators to break with the traditional layout by taking possession of the entire double page without fear of touching the text and sometimes slightly veiling a few letters. He incorporates into the work not only the entire extent of the page but also its very thickness by creating significant embossing, the reliefs of which he exploits on both sides of the sheet, as well as the plasticity of the fault between two notebooks. not sewn from the book. In the catalog welcoming Bernard Alligand's donation to Angers in 2009, Jean-Pierre Geay writes: "you are the only painter friend of mine to conceive of the text in its entirety, to want to represent it in a visual continuum with its full and untied in a language made of matter in genesis or in metamorphosis and of fixed forms ".
Extract from the catalog raisonné of JP Geay 2016
Edition originale 2023 à 30 ex. numérotés, signés par l'auteur et l'artiste dont 18 ex. de tête, 12 ex. simple. Ed. d'art FMA
Edition originale 2021 à 30 ex. numérotés, signés par l'auteur et l'artiste. Ed. d'art FMA
Edition originale 2008 à 45 ex. numérotés, signés par l'auteur et l'artiste. Ed. d'art FMA
Edition originale 2023 à 30 ex. numérotés, signés par l'auteur et l'artiste dont 18 ex. de tête, 12 ex. simple. Ed. d'art FMA
SCULPTURE BOOK
BERNARD ALLIGAND'S COMPOSITIONS ARE OFTEN PUNCTUATED with cosmic or volcanic explosions, projections of unknown shapes that navigate the page or leave their wake as in an unlimited air space. In this sudden crossing of pages, Bernard Alligand's forms no longer need frames - windows onto an unexplored world - or internal perspective. A combination of shapes and colors are replaced in a chromaticism of remarkable richness, modulations of light in the material even through games of shimmering and transparency, and the constant work on the thickness of the material. pictorial, on embossings, on Carborundum engravings and on voluminous collages of sands, glitter or fragments of painted canvas. Bernard Alligand is not far from sculpting the page in his desire to capture the light , to stop it on the surface of the sheet. His interventions on books, inseparable from the rest of his painted and engraved work, take on a tactile power taken to the extreme in his subtle highlights of white gouache on the white vellum and in his dry embossing which inevitably attracts the reader's finger. to make up for the doubts of the gaze.
Extract from the catalog raisonné of JP Geay 2016
