Photo by Cedric PUTAGGIO

CHRISTIAN HENRY

Born in Normandy in 1954, he spent his childhood in the countryside. After high school, he sailed the North Atlantic for a year as a sailor on the merchant ship Jadebusen at Kiel Harbour, Germany. From 1973 to1978, he studied painting, sculpture and engraving at the Rennes Academy of Fine Arts. He travelled to the Middle East in 1979. Living in Hamburg from 1980 to 1987, he was a theatre painter under director Peter Zadeck and stage installer Lilot Hegi. He returned to France in 1987 and continued his work as a painter and sculptor. He focused on the stillness and immediacy of his paintings, faithful to the light of northern Europe and the fragility of real appearances. 

As a painter, he has been invited to lectures by Karl-Josef Pazzini (1992) at the University of Hamburg and Marie Gautheron (2002,2007) at the Ecole Normalia Superior in Lyon. In 2016, he was invited as the resident artist of Heinrich-Boll-Cottage in Ireland. 1991-2020 Taught sketch, painting and sculpture at Talm-Tours. 

克里斯蒂安亨利

1954年生於諾曼底,在鄉村度過童年。中學畢業後,在停泊德國基爾港的玉灣號(Jadebusen)商船上當水手,航行北大西洋一年。1973-1978年在雷(Rennes)美術學院研習繪畫、雕塑和雕刻。1979年去中東旅行。1980-1987年旅居漢堡,是導演彼得·扎德克(Peter Zadeck)和舞台裝置師利洛·赫基(Lilot Hegi)領導的劇院畫家。1987年返回法國,繼續從事畫家和雕刻家的工作。  他專注於畫作的靜止和即時性,忠實於北歐的光和真實表象易碎的虛弱性。  

作為畫家,受邀參加過漢堡大學卡爾-約瑟夫·帕茲尼(Karl-Josef Pazzini)(1992)和里昂高等師範學院瑪麗·葛特隆(Marie Gautheron)的講座(2002,2007)。  2016年受邀愛爾蘭Heinrich-Böll-Cottage駐地藝術家。 1991-2020年在圖爾高等美術學院(TALM-TOURS)講授素描、繪畫和雕刻。  

 

About The Paintings

Each of the small-scale compositions are part of a larger landscape. The artist views the complete work as being highly mutable; not bound by the individual frames. They can be viewed as single paintings or as components that can be arranged to create new landscapes. (Excerpt)

Ta Kung Pao, Hong Kong

The individual paintings constitute a minor suite. They can be assembled into a series of hidden poems: the liquid verse of “An Evening”, with all of its uneasy tenderness in the half-light, painted with great energy, precision, and care. These are my tasks: to unfold the poem, close the fragments, build the “twilight structure”. The poets who helped me most in this regard are Georg Trakl, Tarjei Vesaas, and the Nordic light. 

Christian HENRY

All of the landscapes are inspired by contemplation bathed in twilight; one has the distinct impression that the artist is painting the memories of things that never took place, or things dreamt. Distant, trembling figures appear, nearly fading; a dimension linked to the evening light and death of day. 

Emilie DANIEL, Art Critic  

關於作品

作品的構圖,很多時候只是大片風景的一部分,他不希望風景被畫框所局限,而是畫面有向外的延展性。他的作品都是小幅,這些作品,除了本身是一幅畫之外,若將三幅或四幅作品放在一起也能構成一幅大風景畫作。因此,作品的位置都是細心佈局的。(節錄)

大公報 / 香港

一些小幅畫作,各自獨立,構成一個小調的組曲。它們可以排列成一組隱秘的詩:“一個夜晚”的液態詩,带有微光不安的溫柔、生氣、細緻和準確,這就是我要做的:詩的展開,殘片的彌合,暮色的形象和“構造”。這方面對我有幫助的詩人是格奥爾格·特拉克爾(Georg Trakl), 塔傑伊·維薩(Tarjei Vesaas),以及北歐的光。

克里斯蒂安·亨利 

所有那些風景的靈感都來自長久的凝視,然而沉浸在暮色的光中,我們覺得他畫的是對不曾存在的事物的回憶,或在夢中所見。遙遠的、顫動的、幾乎消逝的形狀與夜晚的光和白晝的死亡連在一起。

艾米麗·丹尼爾 / 藝術評論家