SCatching our gaze in a second, Yann Houri’s works fascinate. Born and based in Paris, the young artist makes us discover a new dimension of painting and the inner nature of movement. In search of new realities, Yann Houri explores the unsuspected possibilities of acrylic. Capturing the moment is reflected in each of his projects. Yann Houri’s works seem carried by a raw energy sweetened with details and colors of subtle poetry.
With Houri, painting and sculpture come together, become one. By dehydrating the acrylic the artist creates new technical characteristics for it. Thus each of his brushstrokes shape a free expression of movement in the material. Some of his paintings weigh over 160kg.
Since 2018 Yann Houri has been working with thin aluminum plates in different series of sculptures called « MO (VE) MENT », exploring questions of Time and Space. These works retrace the movements exerted by the brush in dehydrated acrylic. These « floating brushstrokes » are the revisited expression of the artist’s body language. Thus his sculpted paintings have their counterparts in painted sculptures.
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« « I guess I don’t paint, I dance » Yann Houri
 

Multidisciplinary and close to the realities of his time, Yann Houri pairs some paintings with Augmented Reality. By adding a new dimension to the works, the public discovers digital brushstrokes floating on their screen. Points of view are multiplying.
Those different projects seem to create circles where, in nature as in art; “Nothing is lost, nothing is created, everything is transformed” (Lavoisier). Houri thus transposes his visions into multiple fields of research.
Yann Houri’s works question the definitions of abstraction and figuration. Figuration operates in the very concept of the artist’s use of material. The reality is the material’s reality. In other words, the subject is paint, its energy and its technical characteristics. The point of view has changed and is part of a constant evolution of artistic practices.
One question remains; what realities will the materials be ready to offer? This feature common to the artists presented in our section then appears as a new pictorial quest.
Yann Houri cooperates with time, thus influencing this fascinating material that is painting. This specificity, common to New Dance artists, subtly refers us to the energies generated by our thoughts and actions in a mechanical and virtual world where it is often difficult to cooperate with time rather than act against it. For Houri, acrylic could be an allegory of our existence, of what guides us, at every moment; our emotions. Emotions are vectors of energy, they generate movement.
By creating under the influence of the moment, without predictions, Yann Houri constantly discovers what is offered to him; the magic and sincerity of spontaneity.
Does acrylic have emotions too? Or rather ways of reacting according to its environment and the changes that could be made to it? By shaping again and again what humans had collaborated with since the dawn of time, Humanity has tamed the Materials offered by Nature and advances in time, always going further, in the infinitely large and the infinitely small.

Elsa Duault

YANN HOURI (1990)

Dancing painting

 Catching our gaze in a second, Yann Houri’s works fascinate. Born and based in Paris, the young artist makes us discover a new dimension of painting and the inner nature of movement. In search of new realities, Yann Houri explores the unsuspected possibilities of acrylic. Capturing the moment is reflected in each of his projects. Yann Houri’s works seem carried by a raw energy sweetened with details and colors of subtle poetry.

With Houri, painting and sculpture come together, become one. By dehydrating the acrylic the artist creates new technical characteristics for it. Thus each of his brushstrokes shape a free expression of movement in the material. Some of his paintings weigh over 160kg.

Since 2018 Yann Houri has been working with thin aluminum plates in different series of sculptures called “MO (VE) MENT”, exploring questions of Time and Space. These works retrace the movements exerted by the brush in dehydrated acrylic. These “floating brushstrokes” are the revisited expression of the artist’s body language. Thus his sculpted paintings have their counterparts in painted sculptures.

« I guess I don’t paint, I dance » Yann Houri
 

 Multidisciplinary and close to the realities of his time, Yann Houri pairs some paintings with Augmented Reality. By adding a new dimension to the works, the public discovers digital brushstrokes floating on their screen. Points of view are multiplying.

Those different projects seem to create circles where, in nature as in art; “Nothing is lost, nothing is created, everything is transformed” (Lavoisier). Houri thus transposes his visions into multiple fields of research.

Yann Houri’s works question the definitions of abstraction and figuration. Figuration operates in the very concept of the artist’s use of material. The reality is the material’s reality. In other words, the subject is paint, its energy and its technical characteristics. The point of view has changed and is part of a constant evolution of artistic practices.

One question remains; what realities will the materials be ready to offer? This feature common to the artists presented in our section then appears as a new pictorial quest.

Yann Houri cooperates with time, thus influencing this fascinating material that is painting. This specificity, common to New Dance artists, subtly refers us to the energies generated by our thoughts and actions in a mechanical and virtual world where it is often difficult to cooperate with time rather than act against it. For Houri, acrylic could be an allegory of our existence, of what guides us, at every moment; our emotions. Emotions are vectors of energy, they generate movement.

By creating under the influence of the moment, without predictions, Yann Houri constantly discovers what is offered to him; the magic and sincerity of spontaneity.

Does acrylic have emotions too? Or rather ways of reacting according to its environment and the changes that could be made to it? By shaping again and again what humans had collaborated with since the dawn of time, Humanity has tamed the Materials offered by Nature and advances in time, always going further, in the infinitely large and the infinitely small.

Elsa Duault