Dilecta Editions
208 pages
21x27cm
bilingual French/English
2022
 
ISBN 978-2-37372-125-6
 
"For the past fifteen years, Vincent Olinet has created a body of work often inspired by common items from popular culture, from the collective subconscious such as birthday cakes, lipsticks, slices of bread or anything that shines, as well as from the canons of Art History and the Baroque. The result are works produced via a combination of accident and chance. 
 
 
Their production is very much linked to the artist's taste for the discovery of different processes (craft, techniques, mediums), a certain spontaneity and the search for production efficiency with the happy accidents of mass production. Time is also very present, his writing and the reflection on the ephemeral and length of time. Initially a work of volume, Vincent Olinet's work is also a work on the image, a facet that is becoming increasingly meaningful with our growing consumption in recent years of art and images via social networks. 
 
 
For this monographic catalogue, it is through the form of a background text that I intend to discuss with the artist the reliefs that characterise his work, without, however, skipping over the genesis of his practice: evoking his childhood and adolescence, shedding light on his training, his first aesthetic emotions, his musical influences, his relationship to materials... By focusing on both the artist's beginnings and his latest projects, I hope to identify the invariants of the work by way of the intimate, and the off-field of art."
Éva Prouteau               

 
 
Interview Marie Dupas / Vincent Olinet: In this interview, Vincent Olinet and Marie Dupas explore the artist's artistic practice as a whole, addressing his relationship to the object, to space and to time. They review the artist's many references and attractions to art history (from Mannerism to Romanticism), pop culture (from Disney to Japanese manga), crafts and decorative arts, which run through his entire oeuvre. 
 
 
Together they examine the use of various materials, from the poorest and most contemporary to the most luxurious and ancient, and the techniques employed, from modelling to moulding, from sewing to embroidery, from tapestry to marquetry. From this discussion, the reader discovers the originality of a sensitive work, joyful and dark at the same time and fundamentally anchored in our time. A work torn between past and present, memory and recollection, fascination and repugnance, desire and disgust, coarseness and finess, bad taste and nobility, pretence and exuberance, style and genre, dream and reality.
 
 
This book is generously supported by EYE Art Dotation as well as the publications support of Cnap (Centre National des Art Plastiques)