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| Dominique Raynal calls up other forms of imagination. His humanist, universal ideas are reflected in colours and spaces that he infuses with magic once more. They are his odes and ballads which sing of distant lands, recounting their history and cosmogonies. Tim Leura is the name of a famous Aboriginal artist, whom Dominique Raynal imagines as a torrent of silver forking between two stars in the night. | ||
| Gauguin went to Tahiti to find his bewitching,
hypnotic colours. Dominique Raynal travels inside the canvases of Aboriginal artists initiated into the language of their ancestors, which is expressed in their dream time and their spiritual world. He draws the energy for painting from Chinese calligraphy. He exploits the stylistic riches of African fabrics but composes his world in his own way. |
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| Flamingo is the title of a work inspired
directly by European decorative arts. Geometrical floral motifs enliven
the space. The elegant bird is suggested by an arrangement of white
curves and segments of golden lines. It struts in the middle of the
canvas, a target for all eyes… It is still evocative abstraction,
stylisation, colour and the mix of materials which makes the artist
tick! The world that he creates, full of signs yet deeply poetic, invites us to travel. |
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| Like the poet in Les Fleurs du Mal, Dominique Raynal is fascinated by the splendours of other climes which speak their soft native languages secretly to the soul. | ||
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Ileana Cornea, art critic - Paris, 2008 Dec.
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• Born at Rodez (Aveyron) in 1959. Self-trained, painter since 2005.
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| A feast of colour! Hot, vivifying, intense colour. A language of straight lines like structures, curved lines like rivers … Dominique Raynal signals to the spectator through strikingly geometrical, symbolic, colourful images. |
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| Magnificent, dense, black motifs like embroidery, as taut as arrows against a yellow ochre ground. The handwritten title : O Halé ! O Halé ! Indian Removal Act refers to the 1930 act ordering the displacement of 60,000 American Indians that was vigorously promoted by United States president Andrew Jackson. | ||
| Coniston is treated like an Aboriginal painting. Swarms of dots arranged in bands of colour. The artist has stencilled the date 1928 on the canvas like the seal of truth. There, too, his message hits home. After the murder of a white man, the Australian police killed dozens of men, women and children on the Coniston ranch. | ||
| A red cross signals to us from a streaked,
wounded black background. Neatly centred the bottom of the painting,
the title - Hic - reads like a slogan. Whether a militant or an artistic gesture, the demonstrative content of these works has the visual punch of posters. |
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| Zaza is a more intimate canvas. It could be called "The pleasure of painting" because of a sensuality which brings it close to the lightness of Oriental calligraphy. | ||
| The artist's self-portrait is of a different stamp. Lyrical, brimming with humour, designed in the witty spirit of the Figuration libre movement. | ||