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Julien Heintz, represented by pal project, will present his graduation exhibition Aujourd'hui à cause d'hier, Les fondations du 20ème siècle on Thursday, May 30, 2024, at Beaux-Arts de Paris, in the Burki studio, from 6 PM to 9 PM.
“It is the disturbing (austere) nature of the moment captured in the documentary that interests me. I paint this frozen moment, but my reference exists in a temporality; I do not want to immobilize the instant as a 'photo' would. It is a very unconscious way of painting; I am not seeking the 'blur' or a specific facial feature; I aim to isolate the anonymous individual within the human function of the group.”
Comments by Julien Heintz collected by Elsa Meunier, featured in her magazine Dans les yeux d’Elsa.
Julien Heintz, born in 1997, is a fifth-year student at the Beaux-Arts de Paris in James Rielly’s studio.
With oil painting, his preferred technique, he seeks ambiguity between abstraction and figuration. The preparation of the canvas is particularly important to him. He approaches the surface as a unique material, preparing it with a gesso made from a mixture of marble powder, hide glue, and water. This preparation, which is then sanded, gives the canvas a smooth, hard, and porous appearance, almost as thin as a sheet of paper, making it a unique and fragile object. It is this fragility that drives him to apprehend the surface he paints on in a singular way, memorizing its flaws and qualities.
“It is the disturbing (austere) nature of the moment captured in the documentary that interests me. I paint this frozen moment, but my reference exists in a temporality; I do not want to immobilize the instant as a 'photo' would. It is a very unconscious way of painting; I am not seeking the 'blur' or a specific facial feature; I aim to isolate the anonymous individual within the human function of the group.”
Comments by Julien Heintz collected by Elsa Meunier, featured in her magazine Dans les yeux d’Elsa.
Julien Heintz, born in 1997, is a fifth-year student at the Beaux-Arts de Paris in James Rielly’s studio.
With oil painting, his preferred technique, he seeks ambiguity between abstraction and figuration. The preparation of the canvas is particularly important to him. He approaches the surface as a unique material, preparing it with a gesso made from a mixture of marble powder, hide glue, and water. This preparation, which is then sanded, gives the canvas a smooth, hard, and porous appearance, almost as thin as a sheet of paper, making it a unique and fragile object. It is this fragility that drives him to apprehend the surface he paints on in a singular way, memorizing its flaws and qualities.
