{"id":2150,"date":"2022-09-29T15:23:43","date_gmt":"2022-09-29T15:23:43","guid":{"rendered":"https:\/\/themes.pixelwars.org\/idfolio\/demo-01\/?page_id=39"},"modified":"2026-02-03T10:11:44","modified_gmt":"2026-02-03T09:11:44","slug":"expositions-et-textes","status":"publish","type":"page","link":"https:\/\/odileboniface.com\/en\/expositions-et-textes\/","title":{"rendered":"Exhibitions and texts"},"content":{"rendered":"
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Ann\u00e9e<\/th>Exposition<\/th>Lieu<\/th><\/tr><\/thead>
2021<\/th>Salon Bella z'Art<\/td>Paris<\/td><\/tr>
2019<\/th>Puls'art<\/td>Le Mans (72)<\/td><\/tr>
2018<\/th>FIAAC<\/td>Pouilly-sur-Loire (58)<\/td><\/tr>
2015<\/th>Espace Rimbaud<\/td>Lyon (69)<\/td><\/tr>
2014<\/th>Vivart<\/td>Albi (81)<\/td><\/tr>
2013<\/th>Starter Gallery<\/td>Paris<\/td><\/tr>
2013<\/th>Biennale 109<\/td>Paris<\/td><\/tr>
2011<\/th>Red Gate Gallery<\/td>P\u00e9kin, Chine<\/td><\/tr>
2011<\/th>Exposition<\/td>Poussan<\/td><\/tr>
2010<\/th>4\u00e8me Biennale Internationale d'Art contemporain<\/td>P\u00e9kin, Chine<\/td><\/tr>
2010<\/th>Salon Lyon et Sud-Est<\/td>Lyon (69)<\/td><\/tr>
2010<\/th>Puls'art<\/td>Le Mans (72)<\/td><\/tr>
2009<\/th>Biennale 109<\/td>Paris<\/td><\/tr>
2008<\/th>Libr'art<\/td>Libramont, Belgique<\/td><\/tr>
2008<\/th>Espace des Vins et Campanes<\/td>Magalas (34)<\/td><\/tr>
2007<\/th>Chapelle Saint-Pierre<\/td>Montbazin (34)<\/td><\/tr>
2005<\/th>Exposition<\/td>Poussan (34)<\/td><\/tr>
2003<\/th>Galerie Modus<\/td>Paris<\/td><\/tr>
2003<\/th>Galerie Huis Clos<\/td>Paris<\/td><\/tr>
1996<\/th>Cit\u00e9 Internationale des Arts<\/td>Paris<\/td><\/tr>
1996<\/th>Galerie Akka<\/td>Cap d'Agde (34)<\/td><\/tr>
1995<\/th>Galerie Bernet<\/td>Paris<\/td><\/tr>
1994<\/th>Galerie Les Champs Bleus<\/td>Paris<\/td><\/tr>
1993<\/th>Cit\u00e9 internationale des Arts<\/td>Paris<\/td><\/tr>
1993<\/th>Maison des Femmes<\/td>Cergy (95)<\/td><\/tr>
1993<\/th>Mus\u00e9e Sant'Anna del Mare <\/td>Espagne<\/td><\/tr>
1989 <\/th>H\u00f4tel du D\u00e9partement<\/td>B\u00e9ziers (34)<\/td><\/tr>
1989 <\/th>Ch\u00e2teau d'\u00d4 - \"89 artistes et la libert\u00e9\"<\/td>Montpellier (34)<\/td><\/tr>
1988 - 1989<\/th>Salon Figuration Critique<\/td>Paris<\/td><\/tr>
1988<\/th>Salon Grands et Jeunes d'Aujourd'hui<\/td>Paris<\/td><\/tr>
1988<\/th>Th\u00e9\u00e2tre des Arts & Maison du Peuple<\/td>Pontoise (95)<\/td><\/tr>
1987<\/th>Galerie Le Passage<\/td>Paris<\/td><\/tr>
1983<\/th>Galerie Bernanos<\/td>Paris<\/td><\/tr>
1981<\/th>Centre Culturel Conflans-Sainte-Honorine<\/td>Conflans-Sainte-Honorine (78)<\/td><\/tr>
1981<\/th>Centre Beaubourg - \"Hommage \u00e0 Jean Rousselot\"<\/td>Paris<\/td><\/tr>
1980<\/th>Cit\u00e9 Internationale des Arts<\/td>Paris<\/td><\/tr>
1979<\/th>Salon de Mai<\/td>Paris<\/td><\/tr>
1979 1981<\/th>Salon R\u00e9alit\u00e9s Nouvelles<\/td>Paris<\/td><\/tr>
1979<\/th>Mus\u00e9e Charles P\u00e9guy<\/td>Orl\u00e9ans (45)<\/td><\/tr>
1979<\/th>Galerie Saint-Paul<\/td>Paris<\/td><\/tr>
1978<\/th>Galerie des Beaux-Arts<\/td>Paris<\/td><\/tr>
1977<\/th>Centre Culturel<\/td>Boulogne (92)<\/td><\/tr>
1977<\/th>Salon Toulon-Draguignan<\/td>Var (83)<\/td><\/tr>
1976<\/th>Galerie des Beaux-Arts<\/td>Paris<\/td><\/tr><\/tbody><\/table><\/div><\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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Texts and testimonials<\/h3>\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tOdile Boniface<\/span>novembre 2014<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tTo begin a painting is to place oneself in the silence of all things, in conscious forgetting so that the hand can connect to memories, to imagination, to improvisation, to intuition.\n

\n For me, the act of painting is linked to the land, to the immense freedom it offers, to solitude certainly, but also to sharing, and to sharing life and beauty. In fact, everything is just a pretext; giving meaning doesn't seem necessary to me; something compels me to paint anyway.\n

\nIf the abstraction of my beginnings and abstraction in general had not seemed so sclerotic to me, we go around in circles inside ourselves, I would have stopped there, the subject as such never interested me.\n

\nIt was gradually that I turned to nature, as if it were obvious, it was there. My approach is not linked to a desire to represent or bear witness, except perhaps to the fleeting nature of a moment. I like to dwell in undefined, infinite territories, between figuration and abstraction, imagination and reality, the place of all possibilities.\n

\nFor me, painting is an arrangement of colors, harmonies, and dissonances, just like the landscape and vegetation, sculpted by shadow and light. This familiar yet archaic nature, stifling yet protective, sometimes unsettling, vibrates, tears itself apart, is pierced by the light, and expands.\n

\nLike a photographer of emotion, during my wanderings I seek out that fleeting moment when the light is such that, through a sudden alchemy, a simple piece of landscape becomes a magical, mysterious, supernatural universe, the subject disappearing. I love the autumn light and this season for this reason, because the living and the dead mingle and make the melancholy more acute.\n

\nBecause of a very personal framing, I show a piece of the world, a fragment of the surroundings, knowing that the smallest twig contains a reflection of the whole world.\n

\nThe surroundings are here, not far away, around the workshop, outside; I am looking for enchantment but also a relationship to what I see, a sharing of the gaze.\n

\nI sometimes carry these impressions within me for a long time before they resurface on the canvas, and the act of painting becomes an improvisation around patches of color that makes the imperceptible visible.\n

\nThe density and complexity of plant life compels me to layer paint as if I were stacking several canvases or artworks on top of one another. Each layer is a painting in itself, corresponding to an emotional state; each layer leaves its mark. This is the source of the almost three-dimensional depth found in my paintings. The light and detail emerge from below, from within, at the intersection of the lyrical and the intimate.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tLaure Le Chapelier, Writer<\/span>2010<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tOdile Boniface paints on a thread, like a tightrope walker suspended above the void, the void before genesis, the gaping void of not painting.\n

\nShe walks this tightrope, on the edge of reality and unreality, in this tiny space where life and death are juxtaposed, complement each other, respond to each other, intertwine, with a keen awareness of the drama or the purpose of living.\n

\nIt is within nature itself that the artist has always drawn her inspiration: \"because,\" she says, \"apart from certain works of art and faces, it is for me the unique place of all feelings, of all emotions, in a perpetual renewal; it is also the place of beauty.\"\n

\nHer relationship with nature is quite unique: it is an osmosis, a constant and essential exchange. The artist uses an element of nature as a pretext for creation, and the painting is inscribed within a space-time continuum. The space is delimited by the frame of the painting and by the space of the studio, but time itself is vast. Time is the artist's history, intrinsically linked to that of humanity, the time of memories, but it is also the time necessary for the work, for the creation of the artwork. \"A very long time,\" she says, but it is the same time that engenders the succession of seasons, that causes fallen leaves to accumulate and form the humus of the earth. Each layer of paint applied is a memory for the painting, and the accumulation of layers, over the necessary time, creates a creative humus. This work is rooted in duration, accumulation, and slowness.\n

\nThere is no figuration as such, no illusionism (or representation), just an intrinsic knowledge of both the subject and the craft.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tC. Zollner, journalist<\/span>2005<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tWe remember the large oil paintings with their exuberant vegetation; Odile Boniface, inevitably encountering the pitfalls of perfect mastery of gesture and technique, has refined the form. We thus find vast expanses of silence where the patient work with the material and the exaltation of color sometimes border on abstraction. It is a work on paper of great pictorial richness, a \"mixed\" technique that combines ink, pastels, and oil. A nuanced work that subtly moves back and forth between reality and imagination, Chinese print and fresco, and situates itself with a very personal awareness on the edge of the defined.\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tG\u00e9rard Xuriguera Art critic<\/span>1993<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tFollowing an abstract, luminous and temperate period, marked by atmospheric suggestions, after her time at the \u00c9cole des Beaux-Arts in Paris, Odile Boniface exiled herself from the capital in order to reconsider the pictorial evolution of her project.\n

\nSince abstraction no longer provided the answers she sought, and her new home, surrounded by nature, played a compensatory role, she decided to gradually turn to interpreting the obvious. And she now perceived this obviousness both in the visible world and in her imagination; like travel impressions gleaned from exotic forests.\n

\nShe confronts these territories from both the outside and the inside, revealing their hidden essence, their pungent scent, the dampness of the foliage. Reality lightens, the field expands, placing each element in its proper position, enhanced by the luminous fluidity of the untouched areas. An apparent silence reigns in these stark landscapes, which speak to us of wildlife with a poignant modesty; the idea intervenes in the filter of reality only to refine the relevance of the rendering. A confident graphic style, supported by a precise balance of the subtlest tonal values \u200b\u200band a supple arrangement of forms, conveys the pictorial viability of the painting. Throughout its transhumance, the marmoset becomes a pretext, and Odile Boniface gives life and depth to her world.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tMarie Legent, Journalist<\/span>1993<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tOdile Boniface's painting over the past 20 years has been a long, sometimes painful, always subterranean maturation, carried out in solitude and silence, often tinged with doubt. It is the work of a craftsman as much as an artist, demanding, timeless, constantly revisiting the piece, never finished because it is always perfectible. From the abstraction of her early canvases to figuration, it is the story of a genesis. From the initial silence, the point of origin, the line, the chaos, the questioning of colored matter, emerged form, landscape, animal\u2014a world between the imaginary and the real.\n

\nThe monkeys are there, motionless, signs of humanity's inescapable presence, integrated into nature itself. They pose questions. Today they blend in or disappear amidst the lush vegetation. The symbolism is left to the viewer's interpretation. The painter's inner light, the richness of sensations heightened by color, the transparency of matter, the vibration of air or water\u2014slowly, for a very long time, life takes shape. In these latest canvases, there is a culmination.\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tClaude Sorel (1980) Writer and poet<\/span>1980<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tHer clear eyes penetrated the imaginary realm, restoring to it the appearance of its depth. The elegance of her gesture bent forms to their reality and ceaselessly inspired the movement of a new day.\n

\nEverything happened from dusk till dawn.\n

\nHis vision left on the canvas a fantastic and bare landscape after the deluge, the eruption, the explosion, the chaos.\n

\nHis palette is an alchemy and his canvas vibrates with highly nuanced waves and shadows.\n

\nGenesis or unknown land? Before or after, always a time of peace in between. We see rocks that are no longer rocks, desert rivers, lost plains, formless mountains, beaches at low tide caught in the net of the horizon. Infinite gentleness of a planetary meditation, perpetual slowness.\n

\nAs a poet, she confronts her instinct with a tragic consciousness.\n

\nShe has the youth of purity and the experience of years of craftsmanship. She has the power of a parabolic love which she translates by playing with colours with effusion, in diffusion, in perfusion, in profusion, in a unitary cellular and organic assemblage which patiently remakes the space where the eye, the hand and the sole weight of the soul pass.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tJacqueline Raynaud, Art Critic<\/span>1979<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tIn the P\u00e9guy room, Odile Boniface's canvases place us squarely in a world that is not our finite and constructed universe. Abstract painting, certainly, but an abstraction that is space, with vast movement, where forms emerge in fusion, seeking balance in the crackling of vivid and primal energy.\n

\nThe colors themselves evoke this beginning. Through the cold, Antarctic colors, emanating from the gray of nothingness, and the dominant mauve in all its variations, isn't a transition being expressed, from emptiness to birth, to life, to fiery red? The color seems to take shape, to be born as if on a painter's palette.\n

\nOdile Boniface captures the beginning in its immensity, but also in its microscopic finesse; this second impression is particularly suggested by the pastels where the lines and bridges seem animated by a purely microbial life. Here the painter multiplies visions of stratifications, of fissures like the folds of an organic tissue: \"lines right side up and upside down.\"\n

\n\"The canvas is created as it is being made,\" she says, \"no preconceived plan, therefore no background,\" and her painting develops a cosmological space driven by powerful and vast forces; vital forces that oppose each other, gushing and falling, flowing and exploding, painting the movement in a rain of colored spots, seeking to regroup into denser forms calling in their quest for balance, for construction, the light line that seems to finish, to support the whole.\n

\nIn the black painting, this calm, ocular circle, in the slowness of its formation, carries the mystery of this world, whose dynamism perhaps finds its source in the compelling need that drives Odile Boniface to paint what is her inner world.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t\tPierre Rambaud Galerie St Paul<\/span>1979<\/span><\/cite>\t\t\t\t\t
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\n\t\t\t\t\t\tWe were able to see about twenty recent canvases by Odile Boniface, whose youth does not, surprisingly, preclude maturity and technical mastery.\n

\nMatter is his subject. It's not about coloring a form, but about working (within) the material until the form emerges of its own accord. These are large oil paintings where a granular, mineral, or aquatic chaos unfolds, revealing a landscape of limbo, of the beyond; or small surfaces in ink, oil pastels, gouache: gnarled, rough like bark, imprints like engravings. The cut, the tear, the slit, the notch run through these canvases like a theme: glimpsed lips, a sketched vulva, a barely opened wound, an effervescent swelling that a line bursts open. The tension, bordering on vibration, is embodied in diptychs or triptychs. Finally, poems add to the dramatic aspect of this young work when calligrams penetrate the color of their design, when a palimpsest gives word to matter, lending sound to this universe where the feminine unconscious is inscribed.\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
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Rewards<\/h3>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t
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1981 : <\/h5>\t\t\t\t<\/div>\n\t\t\t\t
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- Bourse d\u2019encouragement \u00e0 la Cr\u00e9ation Artistique, Minist\u00e8re des Affaires Culturelles<\/h6>\t\t\t\t<\/div>\n\t\t\t\t
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- Prix de la Fondation de France<\/h6>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

Ann\u00e9e Exposition Lieu 2021 Salon Bella z’Art Paris 2019 Puls’art Le Mans (72) 2018 FIAAC Pouilly-sur-Loire (58) 2015 Espace Rimbaud Lyon (69) 2014 Vivart Albi (81) 2013 Starter Gallery Paris 2013 Biennale 109 Paris 2011 Red Gate Gallery P\u00e9kin, Chine 2011 Exposition Poussan 2010 4\u00e8me Biennale Internationale d’Art contemporain P\u00e9kin, Chine 2010 Salon Lyon et… <\/p>\n

Read More<\/a> <\/p>","protected":false},"author":34,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"inline_featured_image":false,"footnotes":""},"class_list":["post-2150","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/pages\/2150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/users\/34"}],"replies":[{"embeddable":true,"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/comments?post=2150"}],"version-history":[{"count":95,"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/pages\/2150\/revisions"}],"predecessor-version":[{"id":2676,"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/pages\/2150\/revisions\/2676"}],"wp:attachment":[{"href":"https:\/\/odileboniface.com\/en\/wp-json\/wp\/v2\/media?parent=2150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}