Through his clinical approach and assiduous research, Arnaud Gallizia’s work demonstrates an acute understanding and sensibility to the physical essence of western figuration. With a primordial focus on movement, or rather a restraint in movement, he has established a practice demonstrating forms in the fewest components available to him.
Attending the Villa Arson in 2010, he began to develop an academic interest in charcoal drawing. His attraction to the black substance combined with his reductive approach to figurative forms allowed for further deconstruction by applying his focus to not only implying form through minimal strokes but developing this idea to the creation of the very tools of his craft.
He traveled to Japan, to understand further the creation of paper whereby by the simplicity of its fabrication, through the application of layers of wood upon layers wood with water and no other input other than gravity, collided with the sobriety of the strokes he left on the paper itself with his charcoal.
Following this period of his research, the wood itself, therefore, naturally became the center of his focus. Having already established ability in making his charcoal tools, the process of wood selection and the different blacks it could produce needed to be refined, and the variety he found in Ethiopia allowed him to decompose all aspects of charcoal, eventually reducing it to a fine powder. This powder he combined with tree sap to act as a binding agent, creating an entirely natural pigment.
This final step opened the full breadth of the western canon of painting back to him. Having questioned both matter and medium to the fullest material extent through the craftsmanship he undertakes in his workshop, Arnaud Gallizia has been able to confront figurative tradition with the material ontology he has applied to its physical components. Movement, tools, medium, colour.