Traditional & digital


At first, these paintings are made on canvas, by hand, with a brush. You must love the smell of oily substances, essences, varnishes. Make your own binders, correcting liquids, stains. Those who have never realised a black oil with litharge and a goose feather for the exact temperature  are depriving themselves of certain sensations inherent to this work. To try to tame the arcanes of the work to come. To touch those substances with strange names, rabbit-skin glue, tear mastic, Venetian turpentine, Harlem dryer, aspic essence, etc. The colours to use or not, natural earth, chemical tints, their reactions together or to the light, humidity, their dessication. To respect the drying time. Brushes of pig-bristle or marten sable. So much joyful knowledge to acquire. One day or another, the painter will look at acrylic paint. Plastic is part of our modern lifestyle. Then, discover the specificities of large or small grain in the canvas, the implacability of a wooden panel. Be surprised by any novel surface prepared with love. An alchemist’s quest. Having started to draw at around 7 or 8 years of age, I quickly asked myself the question : where do the images that we try to draw come from ? Over time, an answer comes to light. As far as I am concerned, painting is not the transcription of  a more or less hallucinatory “imagination”. Nor is it the reproduction of reality squashed by random sentimentalism. But an attempt to give free rein to the emergence of an interior space, which is as tangible as our surroundings, and indeed, linked to them. As it appears. An action to drink from the very source of an inter-world between sensitivity and intelligibility. Sometimes with the uncovering of an “apparitional” reality. With a refounding achieved through digitalisation, the refinement becomes clearer.


The finished work could be viewed as a palimpsest. However, what is beneath serves what is above and inversely so. Not as signs becoming muddled through the random strokes and colours but induced by meaning. An effort to build a bridge between two realities, to unify. Dürer travelled throughout Europe with his printing press in a bull-driven cart, no doubt the first mobile device. Delacroix exhorted his artist friends not to despise modern techniques; photography for example, would not destroy painting. Using new technologies of our times makes unending demands on our perceptions. This bi-reactivity, capacity that an image possesses to show a new path as feedback, unfolds with a never ending ease. High-definition photographed work finds itself on the computer screen. Certain images wish to communicate more. Classic tools are replaced by a graphic palette. A renewed way to re-enter the subject. If the leap of the painter is reactivated, what more is necessary? Printed on canvas, mounted on a chassis, the print is identical to the original. The printing can be guaranteed for two centuries.












Translators : Louise de Bruin / Anick Sansoni

Eric Vrignaud


Sculptor of light


Bagneux, a pavillon of the 1930s, in a quiet narrow street on the southern outskirts of Paris. A Russian vine is on its way to conquer the big baywindow of Eric Vrignaud’s studio. Canvases turned to the wall, stretchers, pots, paints, brushes and palettes make for a colourful whole. On the walls big paintings are reigning in a strange atmosphère. In vast silent landscapes lithe, undulating, well individualized figures, gods, angels perhaps – lost in mysterious dreams- seem to open for us the doors of memory that lead to our inner worlds. This memory of ours origins is not just a series of beautiful images or illustrations in the true sense of the word. Vrignauds’ canvases are bursting with life. Patiently and delicately he paints his personal vision of light. This light needs have substance : for him the act of painting and self exploration are insepararble. In constant reflection he depicts the most intimate particles of our most hidden selves. With great creative  and visionary skill Vrignaud -  a committed reader and lover of books – exactingly shows us in this compositions the real meaning of words. There, where one thinks to see the imagination at work, he ‘makes’ the real, letting his unconscious act. He doesn’t believe in master,preferring to awak-en ‘the master of errors’ we are in order to enable us to rediscover the keys to thr archetypes we have lost. His hands are big and srtongs, the hands of a sculptor, but his touch is gentle, smooth and regular. Modelling enters when it combines with colour to s often each breaking off the picture plane. The flat larger areas are taut, full or transparent. Form and colour suddenly take first place. The power of this compositions asserts itself. A tall man, he leans slightly towards one, when with a deep and sonorous voice and an expression full of mischief he discourses with withering humour on the apparent seriousness of things just to show up all the more easily their fragiles foundations. Raising his brush, he speak quietly, but all of sudden, raising his voice, he pounces. Tell him that a painting is a ‘vehicle for emotions’, and you will feel the breath of a spirit, at the same time charming and acidulous, openminded and critical. The generous roar of laughter that follows is a proper match for the burts of colours in his paintings. From his trips to the Great Lakes in the States,to the Gulf of Mexico but above all the Normandy sea of his childhood, Vrignaud knows the prodigious power of Nature and its permanent need to create. It is to the incompleteness of our human nature that he treats us in his work. The doors to the unsconscious open in the silence of words, now become, signs and symbols. He invite us to a journey with himself as guide, the artist ‘magister’, like Virgil leading Dante. It is a journey to a world of images based on archetypes, perceived by his imagination. We enter a reality whose significance is essentially symbolic.


All one sees is voice. Listen to the image. The eyes listen… to a polyphonie where violet, blue and pink dominate. Ochre and orange are those of the sky at sunset. Landscapes, resembling lost Gardens of Eden, compose a magnificent song. The Phoenix, messenger of rebirth,explodes in rainbow colours on the belly of a woman. Elsewhere it reappears above a red Adam, spouting a fountain of light. The surface of the canvass is fully exploited. The ordering of warm and cold hues- in floral and vegetal symphonies- is a pretext for a luxuriant graphism of coloured abstract marks fit for creating dreams. Only the trees with their stylized plaited silhouettes leap up freely in the sky. Time and space are put in parenthesis. At time the tone becomes more solemn. The mineral takes precedence and the weightnof the thick substance of pigments helps to fix one’s gaze on the center of the picture. One steps through the looking-glass : the void, the luminous darkness, lets us hear the echo-silence of cameos of colored greys. All is waiting… so that we can catch the meaining of what is deep inside us. There is expectancy,longing, in the vision of these men and women,some with wideopen eyes, in couple or alone. Fragile witnesses of Nature’Matrix, they are fixed points of her energy. The crossing of a bridge, the climbing of a solitary obstacle where like becomes like evoke the notion of ritual. Eternal wandering,the quest for an inner territory, are the neccessary routes of access to an understanding of Vrignaud’s work. In one of his canvases, painted in shadowy earth colours with a mineral blue glaze, a Beatrice, anchored in the deep red gaze of a male figure, comes to find us in this world of hidden depths. Vrignaud rouses sleeping energies. He touches us in our innermost soul and leads us on a path of meditayion that allows us to understand ourselves better, by knowing the other better. What is the secret source of Eric Vrignaud’s pictures ? He paints to be connected with the viewer by his work- a place of exchange with the world between reality and transfiguration. His way is an authentic one, he does not diverge from the path of his own reality. He invites us to turn towards lucidity. Maybe that is what happiness is. In the nullity of thought,in the general rush on televisual image-merchandizing commodification, the poet creates that which lasts… a body of work, secreted from the commonplace and the deafness of vision of most of our contemporaries


Jean-Claude Lenglart

Professor of Graphic Art Esam.

Plastic artist.



Prices / Orders





- Rates on request.

- The prints are made on canvas, mounted on wood frame.

- Printing is guaranteed between 90 and 100 years.

- It will be done only 5 prints per format.

- Sizes range from 40/60 cm to 100/150 cm or more.

- Square and double squares 40/40 cm to 100/100 cm

   And 40/80 cm at 100/200 cm.

- Delivery to your home.


To order please contact me at the following address :



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