Reyboz Bernard was born in 1951 in Lyon (France).
He worked in Antibes until his death January 4, 2012.
After studying at the Beaux-Arts of Besançon and the Deco Arts in Nice, Bernard Reyboz began his professional career in illustration, advertising and publishing. In 1978 he decided to devote himself exclusively to his artistic work.
The work of Bernard Reyboz force to apprehend the world differently. often simple shapes, the "objects" of Bernard Reyboz constantly remind telluric origin of matter and its evocative power. Intuitive when it draws inspiration from childhood memories but also when scientific studies of almost obsessively natural elements, the artist proposes a re-creation of the world and life. He gives his characters a culture, time, space. Each period of his work carries with it the history of the previous, installing a kind of imaginary filiation between each object: the work of Bernard Reyboz is a family, full of humor and poetry.
It was during a trip to Nice in 1972 that the artist discovers the pebble beaches of the Bay of Angels. Unaware of the magnitude that this theme will take in his work, the artist embarks on an adventure between the eye and reality that makes it inaccessible thanks to the play of scheduling and realism touched with perfect technical mastery. Identified, aligned, these rollers evoke the work of a "mineralist obsessed with classification and storage." Party of black and white, then the artist explores the theme through color.
"My appeal to the rollers was so strong they have led me to look into it very closely. This has resulted in a series of paintings and drawings executed in the best technique of trompe-l'oeil which had my hands at that time. "
Fields of percussion and Textures are also born with a nature study. Their homogeneous frame comes from the observation of hedges:
"In 1987, I spent several weeks photographing trimmed hedges or wild. I loved the thick walls in which one could plunge his hands or stick his body. My first task was to develop a technique that allowed me to produce this virtual material. paper and metal sheets lent themselves to this realization (...) ".
Two surfaces separated by the empty play of the shift elements: a bottom and the frame at the front which is exactly the bottom of step. It is a matter of fact. The graphic vibration arises from the play of solids and voids.
"This is to reconstruct the workshop or hedges or furrows, with a virtual matter on which I can play."
immemorial forms of matter and objects, pebbles reinvest the work of the artist but in other organic creations. Over the years, work on the rollers appears in 3 dimensions to offer the Monoliths, shingle forms more or less elongated, that evoke a somewhat watery world. They become progressively "dressed volumes symbols, writings, signs of" organic ", volumes become graphic media for another destination closer to the expression, interpretation and imagination. Conversely the period "pebble" where it went from black and white to color, the artist starts with the color and get rid of them to explore the sign giving his works a more symbolic dimension. his relationship is unique with color or rather the colors together, they can often serve its intentions, but often have an excessive distraction of power, parasitizing the final reading of the same work.
Then comes, by chance, the people of Tripods, creatures of all sizes, born by distraction.
"This is to my knowledge the Tripodes arrived in my studio. By the time I was working on the monoliths and percussion fields. In a moment of distraction, I modeled with soil a little about three legs topped by a long neck wearing a spiral. I filed this in a corner of my studio and I returned to my optical and mineral occupations. "
Shaped with earth and then recorded for smaller, lined up on wooden plates, these black and white characters, humorous topics are put in very poetic scenes. The artist has even created a story with "Investigation of reality" series of sixty boxes in which it installs small anecdotal compositions accompanied comment.
The Craters kinds of funnels covered with black sand, are they friendly material of these characters. These oval or spherical volumes recall the period of pebbles and announce that of Chrysalides, tangled mesh, material ready nests to deploy.
The move, subtly addressed theme in the work playing visual effects, becomes central in the recent works of the artist: the Mouvants. Therefore, the objects become living sculptures, mysterious in their appearance as much as by the unlikely mechanism that seems to animate them. Real demonstration of the living, the series of Mouvants depicts the mystery of creation and further recorded the works of Bernard Reyboz time.
