Philippe Perrot

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Sans titre, 2011-2012 crayon aquarelle sur papier, 30 x 42 cm
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Les petits pois, 1994, huile sur toile, 50,5 x 73 cm
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Une mort de P. P. P., 1993 huile sur toile, oil on canvas, 65 x 54 cm (25 5/8 x 21 1/4 in.)
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Sans titre, 2007 aquarelle et crayon sur papier/ watercolors and pencil on paper, credit: Fabrice Gousset
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Migraine, 2004 peinture à l'huile et antiseptique (éosine, bétadine et bleu de Milian) sur toile, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas 97 x 197 cm (38 1/4 x 77 1/2 in.) /
Exhibition view, La force de l'art 2, Grand Palais, Paris, 2009
Exhibition view, La force de l'art 2, Grand Palais, Paris, 2009
Exhibition view, La force de l'art 2, Grand Palais, Paris, 2009
Exhibition view, La force de l'art 2, Grand Palais, Paris, 2009
Baignade la nuit par crainte du jour, 2008, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 97 x 195 cm, 38 1/4 x 76 3/4 in
Baignade la nuit par crainte du jour, 2008, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 97 x 195 cm, 38 1/4 x 76 3/4 in
L'homme invisible, 2007, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 80 x 100 cm, 31 1/2 x 39 3/8 in
L'homme invisible, 2007, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 80 x 100 cm, 31 1/2 x 39 3/8 in
La sœur inversée, 2007, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 80 x 100 cm, 31 1/2 x 39 3/8 in
La sœur inversée, 2007, oil and antiseptic (eosin, betadine and bleu de Milian) on canvas, 80 x 100 cm, 31 1/2 x 39 3/8 in

The work of Philippe Perrot (Paris, 1967 – Paris, 2015) is present, among others, by the following institutions: MOCA, Los Angeles; Frissimas Museum, Athènes; FRAC Ile de France; FMAC Ivry syr Seine; CCCG Gennevilliers. Exhibitions : Art:Concept, Paris (2004); Le monde vous appartient, Palazzo Grassi, Venise (2011); Rosa et Carlos de la Cruz, Miami (2007).

Philippe Perrot’s paintings are always about family. But he constantly interupts the narrative function of the image, with each canvas suggesting various skits without reality divulging any family secrets. Nevertheless, his singular way of painting the signs and images suggests something of their weight and their influence on the organization of pictorial space. The varying effects of scale contribute to altering the latter’s homogeneity. The point is to disconcert the viewer’s gaze and make them seek new reference points and follow aleatory lines of thought.It is by maintaining a permanent non-resemblance between the signs and their signification, creating a disjunction between the image and its referent, that this challenge the viewer attains its full meaning. (Evence Verdier / Translation : L.S Torgoff).

Richard Leydier, Philippe Perrot – Ramasser les morceaux

Exhibition catalogue, Philippe Perrot, Ramasser les morceaux, Édouard Manet Gallery, Gennevilliers, 2003, 28 pages