GREYG
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
Révéler ce
qui traverse
les corps.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
La matière comme mémoire.
DÉMARCHE
Le corps n’est pas représenté comme un tout, mais travaillé à partir de ce qu’il en reste après avoir été traversé.
Marquée par la mémoire, l’altération et le temps, la figure devient une surface d’inscription. Le fusain et l’encre déposent, effacent et mettent à l’épreuve ce qui apparaît.
Chaque œuvre tente de rendre perceptible ce qui tient malgré l’altération — une présence silencieuse, saisie au moment même où elle pourrait s’éteindre.
« Révéler ce qui traverse les corps, plutôt que ce qu’ils donnent à voir. »
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
La matière,
le geste, l’effacement.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
Expositions
Expositions individuelles
FÉV-MARS 2025
Espace Saint Jean
MELUN
MAI 2024
Atelier Delort
BOURRON-MARLOTTE
OCT 2020
Castle
FONTAINEBLEAU
OCT 2025
Galerie 39
BARBIZON
NOV 2024
Galerie Le Vivier
MORET LOING ET ORVANNE
Expositions
collectives
OCT 2026
Lyon Art Paper
LYON
MAI JUIN 2026
Art du centre
VILLIERS EN BIERES
MARS 2026
Espace Renoir
BOURRON-MARLOTTE
OCT 2025
Lyon Art Paper
LYON
NOV 2024
Salon de Moret sur Loing
MORET LOING ET ORVANNE
NOV 2024
Salon de Moret sur Loing (Invité d'honneur)
MORET LOING ET ORVANNE
MAI 2023
FestivArt (Premier Prix)
MELUN
SEPT NOV 2022
Galerie LA CAPITALE GRAVEUR NOMADE
PARIS
MAI 2022
Exposition "ESTAMPES"
BOURRON-MARLOTTE
MARS 2021
Salon du Grand Format
MENNECY
MAI 2021
Le Mur et Espace Regards
"Figuré, non figuré, le dessin d'aujourd'hui"
MORET SUR LOING
NOV 2019
Salon de peinture CAS Seine et Marne
BOIS LE ROI
NOV 2018
Le Mur "Armistice Vision d'Artiste"
MORET SUR LOING
MARS 2018
Salon du Grand Format
MENNECY
MARS 2017
Salon Clément Bayer
SAMOREAU
MARS 2017
Salon du Grand Format
MENNECY
MARS 2015
Salon Clément Bayer
SAMOREAU
Prix et Récompenses
2023
Premier prix · Festiv’art · Melun
2022
Certificat de mérite artistique · Luxembourg Art Prize
2018
Prix du public · Salon de peinture de la CAS de Seine-et-Marne
2018
Prix Galerie Thuillier · Salon du Grand Format · Mennecy
2014
2ème prix du jury · Salon de Veneux-les-Sablons
With this new project,BREATHE, Greyg wanted to work on the loss of meaning and identity of Man.
Under the pretext of progress, humanity has altered itsenvironment to the point of making it a threat to its own survival. The simple act of breathing becomes difficult unless you resort to an artifact, thegas mask, a fatal symbol of our condition.
Therein lies the tragic irony of this process: this mask, supposed to help us to breathe, is the fruit of human production, which is itself responsible for oursuffocation, thus bearing on its contours the imprint of our voluntary asphyxiation. We are under the influence of these technologies and condemned to a morbid dependence to preserve our survival in an increasingly hostile environment.
Putting on this mask, we rediscover the very essence of our breathing, but at the cost of losing ouridentify. We have become beings with erased features, anonymous behind a uniform mask, perpetuating a masquerade that denies our humanity. In this absurd theatre, we play the role of strange puppets, suspended between the anguish ofasphyxiation and the nothingness of our own existence.
With "RESPIRE", Greyg aspires to raise awareness and awaken minds.
Entrer en contact.