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Guillaume Vandame

I have actively been making digital drawings on my iPhone since 2017 which queer abstraction and combine the styles of De Kooning and Rothko to create a singular aesthetic which explores homoeroticism, abstraction and figuration. I have a selection of smaller paintings I have not shown yet publicly from a series entitled, princess. These works all have traces of pink somewhere and examine dominant and submissive roles and the archetype of a princess as a means to create power and demarcate a psychological world defined by fantasy, pleasure, and touch, almost a kingdom. The size and scale pay homage to an Edvard Munch print of lovers recently on display at the British Museum in 2019, something modest and delicate. Each painting is unique. I made about 600 drawings between 2017 and 2020, initially inspired by one lover who inspired me to make a film documenting the entire Rothko Room at Tate Modern juxtaposed with Celine Dion music to contemplate the depths of queer intimacy, technology, and the dematerialization of painting. This then led to an ongoing, almost obsessive exploration of line, color, and form. The drawings are mostly inspired by various real sexual encounters and in 2019 I made about 40 works from four unique bodies of work. There are about 19 paintings in princess and they fit within this wider conversation surrounding queer expression and aesthetics. I do a lot of my printing on canvas with Tesco, which is both ironic and a statement on the circulation of queer imagery with dating apps like Grindr, becoming something cliched and unique, special and everyday. By making each painting unique, the finished work of art further questions the role of painting today within queer aesthetics and, ultimately, how to make painting without paint and what constitutes a work of contemporary art in a queer discourse.

Queer Contemporaries > Guillaume Vandame

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