In the 1970s, André Pierre Arnal delves into the monotype technique, deploying an origami-like process, the paper hen, as a springboard for a series of canvas folds, which will quite naturally become a key feature in the Supports/Surfaces group. He shares in the group’s adventures: conceptual and plastic decomposition and analysis of works of art. However, rather than intervening on the medium via lines and symbols, the artist opts to integrate the canvas itself in the creative process of his work.

After much experimentation in ripping and fragmenting, in 2002, Arnal tackles ripping a rectangle of paper along an oblique line. Through this, he finds a new horizon for his work, a sort of necessary counterpoint to his semantic and pictorial evolution.

"Chance drawing, a rip's contours tell a story of violence and pain. The ragged edges correspond to what one has imagined under the auspices of the "symbol": two profiles fitting into each other and born from the brutal removal of the terracotta plate.” André-Pierre Arnal.





Born in Nîmes in 1939, André-Pierre Arnal briefly studies at the Beaux Arts in Montpellier. But in the 1960s, André-Pierre Arnal mainly conducts his research on his own. He is influenced by his discovery of Matisse, American abstract artists, but, most importantly, Paul Klee. He continues to work today in his Paris studio.

Arnal’s work has entered the collections of the following leading museums and collections: Centre Georges-Pompidou, Paris; Fnac, Paris; Musée d’Art moderne de la ville de Paris; the museums of the cities of Montpellier, Martigues, and Nice; Musée d’Art contemporain de Montréal; Musée des Beaux-Arts de Québec; Albright Knox Foundation, Buffalo, New York; Frac Centre; Frac Languedoc-Roussillon; Angoulême (stage curtain, 1994); Théâtre d’O (stage curtain, 2004); Artothèques Antonin-Artaud, Marseille, Miramas, and Montpellier; Bibliothèque la Méjane, Aix-en-Provence; Médiathèque Centrale Émile Zola, Montpellier, etc.


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André-Pierre Arnal, Gilles Gudin de Vallerin, Michel Melot, et al., André-Pierre Arnal, 2002.
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Catherine Millet, François Arnal, 1998.
Yves Michaud, Guy Tosatto, Carré d'Art, Les formes de la couleur, 1997.
André-Pierre Arnal, Jean Rouaud, Le champ traversé, suivi de Les Traces du voyage, 1996.
Gilbert Lascault, Espace Languedoc-Roussillon, André-Pierre Arnal, 1995.
Serge de Albertis, Christian Skimao, Artothèque-Sud, Etre dans les petits papiers de.., 1995.
André-Pierre Arnal, Le jardin des fileuses, 1993.
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André-Pierre Arnal, Vincent Bioulès, Louis Cane, et al., Le bel âge, 1991.
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Marie-Domitille Porcheron, André Pierre Arnal : arrachements, 1989.
Bernard Teulon-Nouailles, André-Pierre Arnal 1961-1982
Sophie Cazé, Musée de l'Hospice Saint-Roch, André-Pierre Arnal, Joël Frémiot, 1980